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THE  MOTHER  OF  TOMORROW 
DETAIL  FROM  ‘THE  NATIONS  OF  THE  WEST’ 

A.  STIRLING  CALDER,  SCULPTOR 


The  SCULPTURE  and 
MURAL  DECORATIONS 
of  the  EXPOSITION 

A PICTORIAL  SURVEY  OF 
THE  ART  OF  THE  PANAMA-PACIFIC 
INTERNATIONAL  EXPOSITION 

DESCRIBED  BY 

STELLA  G.  S.  PERRY 

WITH  AN  INTRODUCTION  BY 

A.  STIRLING  CALDER,  N.  A. 

ACTING  CHIEF  OF  SCULPTURE 
OF  THE  EXPOSITION 


PAUL  ELDER  AND  COMPANY 
PUBLISHERS-SAN  FRANCISCO 


COPYRIGHT,  1915,  BY 
PAUL  ELDER  & COMPANY 
SAN  FRANCISCO 

f Cardinell-Vincent  Company, 

‘vs^Jgesusar 


this 


To  the  MEMORY  of 
KARL  BITTER 


When  I have  fears  that  I may  cease  to  be 

Before  my  pen  has  glean  d my  teeming  brain , 
Before  high-piled  books , in  charactery , 

Hold  like  rich  garners  the  full  ripen  d grain; 
When  I behold , upon  the  night’s  starr  d face , 
Huge  cloudy  symbols  of  a high  roma7ice , 

And  think  that  I may  never  live  to  trace 

Their  shadows , with  the  magic  hand  of  chance 
And  when  I feel , fair  creature  of  an  hour , 

That  I shall  never  look  upon  thee  more , 

Never  have  relish  in  the  faery  power 
Of  unreflecting  love;  then  on  the  shore 
Of  the  wide  world  I stand  alone , and  think 
Till  love  and  fame  to  nothingness  do  sink. 

— Keats 


CONTENTS 


PAGE 

Sonnet.  Keats v 

The  Sculpture  and  Mural  Decorations  of  the  Exposition.  A.  Stir- 
ling Caldery  N.  A 3 

ILLUSTRATIONS 

EXPOSITION  SCULPTURE  KACING  PA0E 

The  Mother  of  Tomorrow — Detail  from  the  Nations  of  the  West. 

Cardinell- Vincent,  photo.  ( Frontispiece .) 

Fountain  of  Energy — Central  Group,  South  Gardens.  Pillsbury 

Pictures 14 

Equestrian  Group — Detail,  Fountain  of  Energy.  Cardinell- Vincent, 

photo 16 

North  Sea — Atlantic  Ocean — Details,  Fountain  of  Energy.  Cardi- 

nell- Vincent,  photo 18 

Mermaid  Fountain — Festival  Hall,  South  Gardens.  Cardinell - 

Vincent,  photo 20 

Torch  Bearer — Finial  Figure,  Festival  Hall.  Cardinell- Vincent, 

photo 22 

The  Muse  and  Pan — Pylon  Group,  Festival  Hall.  W . Zenis  Newton, 

photo 24 

Boy  Pan — Detail,  Pylon  Group,  Festival  Hall.  Cardinell- Vincent, 

photo 26 

Detail,  Spire  Base,  Palace  of  Horticulture.  Cardinell- Vincent, 

photo 28 

Cortez — In  Front  of  Tower  of  Jewels.  J.  L.  Padilla,  photo  . . 30 
Pizarro — In  Front  of  Tower  of  Jewels.  William  Hood,  photo  . . 32 

The  Pioneer — Avenue  of  Palms.  W.  Zenis  Newton,  photo  ...  34 

The  End  of  the  Trail — Avenue  of  Palms.  W.  Zenis  Newton,  photo  36 

Historic  Types — Finial  Figures,  Tower  of  Jewels.  Cardinell- 

Vincent , photo 38 

Fountain  of  Youth — Colonnade,  Tower  of  Jewels.  W.  Zenis  Nezv- 

ton,  photo  40 

Fountain  of  El  Dorado — Colonnade,  Tower  of  Jewels.  W.  Zenis 

Newton , photo 42 

Frieze — Details,  Fountain  of  El  Dorado.  Cardinell- Vincent,  photo  44 

Nations  of  the  East — Group,  Arch  of  the  Rising  Sun.  Gabriel 

Moulin,  photo 46 

Pegasus — Spandrels,  East  and  West  Arches.  Cardinell- Vincent, 

photo 48 

The  Stars — A Detail  of  the  Colonnade.  Cardinell- Vincent,  photo  . SO 

Earth — Detail,  one  of  “The  Elements.”  Cardinell- Vincent,  photo  52 

The  Signs  of  the  Zodiac — Frieze  on  the  Corner  Pavilions.  Cardinell- 
Vincent,  photo 54 

[VII] 


THE  LLUSTRATIONS 

FACING  PAGE 

Nations  of  the  West — Group,  Arch  of  the  Setting  Sun.  Cardinell- 

Vincent , photo 56 

Enterprise — Detail,  Nations  of  the  West.  Cardinell-Vincent,  photo  58 
Dance — Balustrade,  Court  of  the  Universe.  Cardinell- Vincent, 

photo 60 

The  Rising  Sun — Fountain,  Court  of  the  Universe.  W.  Zenis  New- 
ton, photo 62 

Column  of  Progress — In  the  Forecourt  of  the  Stars.  Cardinell- 

Vincent,  photo 64 

Frieze — Base,  Column  of  Progress.  Cardinell- Vincent,  photo  . . 66 

Primitive  Ages — Altar  Tower,  Court  of  Ages.  Cardinell- Vincent, 

photo 68 

Primitive  Man — Arcade  Finial,  Court  of  Ages.  Cardinell-Vincent, 

photo 70 

Fountain  of  Earth — Central  Group,  Court  of  Ages.  fV.  Zenis  New- 
ton, photo 72 

Survival  of  the  Fittest — A Panel,  Fountain  of  Earth.  Cardinell- 

Vincent,  photo 74 

Lesson  of  Life — A Panel,  Fountain  of  Earth.  Cardinell-Vincent, 

photo 76 

Helios — Separate  Group,  Fountain  of  Earth.  Cardinell-Vincent , 

photo 78 

Water  Sprites — Base  of  Column,  Court  of  Ages.  Cardinell-Vincent, 

photo 80 

A Daughter  of  the  Sea — North  Aisle,  Court  of  Ages.  fV.  Zenis 

Newton,  photo 82 

The  Fairy — Finial  Figure,  Italian  Towers.  Cardinell-Vincent,  photo  84 

Flower  Girl — Niche,  Court  of  Flowers.  Cardinell-Vincent,  photo  . 86 

Beauty  and  the  Beast — Fountain  Detail,  Court  of  Flowers.  Cardi- 
nell-Vincent, photo 88 

Caryatid — Court  of  Palms.  Cardinell-Vincent,  photo  ....  90 

The  Harvest — Court  of  the  Four  Seasons.  Cardinell-Vincent,  photo  92 

Rain — Court  of  the  Four  Seasons.  Cardinell-Vincent,  photo  . . 94 

Fountain  of  Spring — Court  of  the  Four  Seasons.  Cardinell-Vincent , 

photo 96 

Fountain  of  Winter — Court  of  the  Four  Seasons.  Cardinell-Vincent, 

photo 98 

Fountain  of  Ceres — Forecourt  of  the  Four  Seasons.  W . Zenis 

Newton,  photo 100 

The  Genius  of  Creation — Central  Group,  Avenue  of  Progress. 

Cardinell-Vincent,  photo 102 

The  Genius  of  Mechanics — Column  Friezes,  Machinery  Hall. 

Cardinell-Vincent,  photo 104 

The  Powers — Column  Finials,  Machinery  Hall.  W.  Zenis  Newton, 

photo 106 

Pirate  Deck-hand — Niches,  North  Facade  of  Palaces.  Cardinell- 

Vincent,  photo 108 

[ VIII  ] 


THE  ILLUSTRATIONS 

FACING  PAGE 

From  Generation  to  Generation — Palace  of  Varied  Industries. 

Cardinell-  Vincent,  photo 110 

The  Man  With  the  Pick — Palace  of  Varied  Industries.  Cardinell- 

Vincent , photo 112 

The  Useful  Arts — Frieze  over  South  Portals.  Cardinell- Fincenty 

photo 114 

Triumph  of  the  Field — Niches,  West  Facade  of  Palaces.  Cardinell- 

Vincent,  photo 116 

Worship — Altar  of  Fine  Arts  Rotunda.  Ralph  Stackpole,  photo  . 118 
The  Struggle  for  the  Beautiful — Frieze,  Fine  Arts  Rotunda.  Cardi- 
nell-Vincent,  photo 120 

Guardian  of  the  Arts — Attic  of  Fine  Arts  Rotunda.  Cardinell- 

Vincent,  photo . .122 

Priestess  of  Culture — Within  the  Fine  Arts  Rotunda.  Cardinell- 

Vincent,  photo 124 

Frieze — Flower-boxes,  Fine  Arts  Colonnade.  J.  L.  Padilla , photo  126 

EXHIBIT  SCULPTURE. 

The  Pioneer  Mohter — Exhibit,  Fine  Arts  Colonnade.  W.  Zenis 

Newton , photo 128 

Lafayette — Exhibit,  Fine  Arts  Rotunda.  W.  Zenis  Newton , photo  130 

Thomas  Jefferson — Exhibit,  Fine  Arts  Rotunda.  Cardinell- Vin- 
cent, photo 132 

Lincoln — Exhibit,  South  Approach.  Cardinell- Vincent,  photo  . . 134 

Earle  Dodge  Memorial — Exhibit,  Fine  Arts  Rotunda.  Gabriel 

Moulin,  photo .136 

Fountain — Foyer,  Palace  of  Fine  Arts.  Gabriel  Moulin,  photo  . . 138 

Wildflower — Garden  Exhibit,  Colonnade.  W.  Zenis  Newton,  photo  140 

The  Boy  With  the  Fish — Garden  Exhibit,  Colonnade.  W.  Zenis 

Newton , photo 142 

Young  Diana — Garden  Exhibit,  Colonnade.  Pillsbury  Pictures  . 144 
Young  Pan — Garden  Exhibit,  Colonnade.  Cardinell- Vincent,  photo  146 
Fighting  Boys — Garden  Exhibit,  Colonnade.  W.  Zenis  Newton, 

photo 148 

Duck  Baby — Garden  Exhibit,  Colonnade.  W.  Zenis  Newton , photo  150 
Muse  Finding  the  Head  of  Orpheus — Garden  Exhibit,  Colonnade. 

W.  Zenis  Newton,  photo 152 

Diana— Garden  Exhibit,  South  Lagoon.  W.  Zenis  Newton,  photo.  154 

Eurydice — Garden  Exhibit,  Colonnade.  W.  Zenis  Newton,  photo  . 156 
Wood  Nymph — Garden  Exhibit,  Colonnade.  W.  Zenis  Newton, 

photo 158 

L’Amour— Garden  Exhibit,  Colonnade.  W.  Zenis  Newton,  photo  . 160 

An  Outcast — Garden  Exhibit,  Colonnade.  Gabriel  Moulin,  photo  . 162 
The  Sower — Garden  Exhibit,  Colonnade.  fV.  Zenis  Newton , photo  164 
The  Bison — Garden  Exhibit,  South  Approach.  W.  Zenis  Newton, 

photo 166 

[IX] 


THE  ILLUSTRATIONS 

FACING  PAGE 

The  Scout — Garden  Exhibit,  South  Lagoon.  W.  Zenis  Newton , 

photo 168 

The  Thinker — Exhibit,  Court  of  French  Pavilion.  W.  Zer.is  Netv 
ton,  photo 170 

MURAL  DECORATIONS 

Earth — Fruit  Pickers.  Court  of  Ages.  W.  Zenis  Newton , photo  . 172 
Fire — Industrial  Fire.  Court  of  Ages.  W.  Zenis  Newton , photo  . 174 
Water — Fountain  Motive.  Court  of  Ages.  IV.  Zenis  Newton , 

photo 176 

Air — The  Windmill.  Court  of  Ages.  IV.  Zenis  Newton , photo  . 178 
Half  Dome — Court  of  the  Four  Sea  photo 

Art  Crowned  by  Time — Court  of  the  Four  Seasons.  Gabriel 

Moulin,  photo 182 

The  Seasons — Court  of  the  Four  Seasons.  Gabriel  Moulin , photo  . 184 
Westward  March  of  Civilization — Arch,  Nations  of  the  West. 

Gabriel  Moulin , photo 186 

Discovery — The  Purchase.  Tower  of  Jewels.  Gabriel  Moulin, 

photo 188 

Ideals  of  Emigration — Arch,  Nations  of  the  East.  Gabriel  Moulin, 

photo 190 

The  Golden  Wheat — Rotunda,  Palace  of  Fine  Arts.  Gabriel 

Moulin , photo 192 

Oriental  Art — Rotunda,  Pal.u-c  of  Fine  Arts.  Gabriel  Moulin,  photo  194 
The  Arts  of  Peace — Netherlands  Pavilion.  Gabriel  Moulin,  photo  . 196 
Penn’s  Treaty  with  the  Indians — Pennsylvania  Building.  Clayton 

Williams,  photo 198 

Return  from  the  Crusade — Court,  Italian  Pavilion.  Cardinell - 

Vincent,  photo 200 

The  Riches  of  California — Tea  Room,  California  Building.  Gabriel 
Moulin,  photo 202 


[X] 


THE  SCULPTURE 
AND  MURAL  DECORATIONS 
OF  THE  EXPOSITION 


THE  SCULPTURE  AND 
MURAL  DECORATIONS 


“In  this  fair  world  of  dreams  and  vagary , 

Where  all  is  weak  and  clothed  in  failing  forms , 
Where  skies  and  trees  and  beauties  speak  of  change , 
And  always  wear  a garb  that’s  like  our  minds , 

We  hear  a cry  from  those  who  are  about 
And  from  within  we  hear  a quiet  voice 


he  persistent  necessity  for  creation  is  strik- 


ingly  proved  by  the  prolific  output  of  the 
Arts.  Year  after  year,  as  we  whirl  through 
space  on  our  mysterious  destiny,  undeterred  by 
apparent  futility,  the  primal  instinct  for  the 
visualization  of  dreams  steadily  persists.  Good 
or  bad,  useful  or  useless,  it  must  be  satisfied. 
It  amounts  to  a law,  like  the  attraction  of  the 
sexes.  Discouraged  in  some  directions,  it  will 
out  in  others,  never  permanently  satisfied.  Each 
age  and  people  must  have  its  own  art  as  well  as 
what  remains  of  the  arts  of  past  ages  and  peoples- 
in  spite  of  scant  patronage,  commercial  limita- 
tion, and  critics’  hostility.  The  philosopher  tells 
us  that  everything  has  been  done,  yet  we  must 
do  it  again — personally. 

Art  is  so  much  a part  of  life  that  to  discourage 
it  is  to  discourage  life  itself — as  if  one  would  say: 
“Others  have  lived ; all  imaginable  kinds  of  life 
have  been  lived.  Therefore  it  is  unnecessary  for 
you  to  experience  life.” 


That  drives  us  on  to  do,  and  do,  and  do.” 


[3] 


The  SCULPTURE  and  MURAL  DECORATIONS 

The  plastic  and  pictorial  decoration  of  an 
Exposition  offer  unusual  opportunity  to  the 
Artist,  at  the  same  time  imposing  handicaps — 
the  briefness  of  time,  the  poverty  of  material. 
It  affords  chances  for  experiment,  invention,  and 
originality  only  limited  by  the  necessary  formal 
settings  of  the  architecture,  out  of  proportion  to 
the  initiative  of  the  artists,  a majority  of  whom 
prefer,  either  from  inclination  or  necessity,  to 
take  the  safe  course,  the  beaten  path  of  prece- 
dent. Artists  are  of  two  kinds  the  Imitators 
and  the  Innovators.  The  public  also  is  of  two 
corresponding  kinds — those  who  accept  only 
what  they  have  learned  to  regard  as  good,  pre- 
ferring imitations  of  it  to  anything  requiring  the 
acquisition  of  a new  viewpoint;  and  that  other 
kind,  receptive  to  new  sensations.  The  first  class 
is  the  more  numerous,  which  explains  why  most 
of  our  art,  in  fact  most  of  all  ait,  is  imitative — 
that  is,  imitative  of  the  works  of  other  artists. 

The  sculpture  and  mural  decorations  of  the 
buildings  and  grounds  of  the  Exposition  ade- 
quately represent  the  output  of  American  art 
today.  It  is  the  best  possible  collection  under 
existent  conditions. 

Its  many  sources  of  inspiration — all  Euro- 
pean, like  the  sources  of  our  racial  origin — are 
clothed  in  outward  resemblances  of  the  styles 
and  tinged  with  the  thought  of  the  masters,  old 
and  new,  who  constitute  Precedent.  Thus,  in 
sculpture  we  have  imitations,  conscious  or  un- 
conscious, of  the  Greek,  of  Michael  Angelo, 
Donatello,  Rodin,  Barye,  Meunier,  Saint  Gau- 
dens;  in  painting,  of  Besnard,  Merson,  Monet, 
et  cetera , as  well  as  some  more  complex  personal 

[4] 


The  SCULPTURE  and  MURAL  DECORATIONS 
notes,  more  difficult  to  relate,  although  they  too 
are  related  in  the  main,  adding  only  another 
variation  of  character  to  the  great  mass  of  human 
ideality.  As  in  nature,  there  is  nothing  abso- 
lutely pure — nothing  that  can  exist  totally  un- 
related to  the  whole — so  it  is  in  art.  Its  works 
should  be  judged,  not  by  their  absolute  adher- 
ence to  any  so-called  standard,  but  finally  by 
the  appeal  they  make  to  the  receptive  and 
unprejudiced  mind. 

Be  brave,  Mr.  Critic — Madame  Public,  think 
for  yourself,  at  the  risk  of  ridicule.  Be  not 
ashamed  to  admire  what  appeals,  before  learn- 
ing its  author,  and  when  it  no  longer  appeals 
leave  it  without  remorse. 

In  this  introduction  to  the  sculpture  of  the 
Exposition,  it  is  unusually  fitting  that  grateful 
recognition  be  accorded  the  memory  of  the 
sculptor  whose  lively  faith  in  our  growth,  and 
tireless  energy  first  launched  the  enterprise.  Karl 
Bitter  possessed  more  than  any  other  American 
sculptor  that  breadth  of  vision  that  enabled  him 
to  discern  talent — that  generosity  that  enabled 
him  to  give  praise  where  he  believed  it  due — 
that  suppleness  of  mind  that  could  comprehend 
new  concepts — and  that  sense  of  justice  that 
avoided  no  obligation.  Such  an  unusual  com- 
bination of  faculties  defined  a man  broader  and 
more  profound  than  his  broad  achievement — 
one  of  the  rare  personalities  in  our  Art,  the 
most  helpful  exponent  that  sculpture  has  known 
in  this  land.  In  the  initial  stages  of  planning, 
his  fiery  initiative  and  amazing  grasp  of  detail 
commanded  attention,  speedily  resulting  in  the 
first  general  plan  of  the  sculpture  of  the  build- 

[ 5 ] 


The  SCULPTURE  and  MURAL  DECORATIONS 
ings  and  grounds;  while  later  his  tenacity  and 
generosity  assured  the  completed  unity  as  it 
now  stands.  Forty-four  sculptors  contributed 
designs,  the  subjects  of  which  were  assigned  to  the 
number  of  seventy-eight  items,  some  of  which 
comprise  compositions  involving  a score  of  fig- 
ures. The  number  of  replicas  used  as  repeated 
architectural  motifs  in  order  to  create  an  effect  of 
richness  necessitated  by  the  styles  of  architec- 
ture, is  very  numerous. 

Vitality  and  exuberance,  guided  by  a distinct 
sense  of  order,  are  the  dominant  notes  of  the 
Arts  of  the  Exposition  and  pre-eminently  of  the 
sculpture.  It  proclaims  with  no  uncertain  voice 
that  “all  is  right  with  this  Western  world” — it 
is  not  too  much  to  claim  that  it  supplies  the 
humanized  ideality  for  which  the  Exposition 
stands — the  daring,  boasting  masterful  spirits 
of  enterprise  and  imagination  the  frank  en  joy- 
ment of  physical  beauty  and  effort — the  fascina- 
tion of  danger;  as  well  as  the  gentler,  more 
reverent  of  our  attitudes,  to  this  mysterious 
problem  that  is  Life. 

One  of  the  strongest  influences  the  sculpture 
will  have  will  be  in  the  direction  of  a new  im- 
pulse to  inventive  decoration.  This  field  has 
remained  relatively  undeveloped,  partly  owing 
to  our  fondness  for  the  portrait  idea,  but  the 
direction  is  legitimate  and  worthy.  Architecture, 
which  is  the  growth  of  a selective  precedence, 
must  be  continually  supplied  with  new'  impulses 
— new  blood  to  re-energize,  rehumanize  its  con- 
ventions— and  on  the  other  hand,  all  such  new 
impulses  must  be  trained  into  order  with  arch- 
itecture. Within  the  last  few  years  a school  de- 

[6] 


The  SCULPTURE  and  MURAL  DECORATIONS 
voted  to  the  development  of  this,  as  it  might  be 
styled,  applied  sculpture,  has  been  maintained 
by  a group  of  public-spirited  architects  under 
the  management  of  the  Society  of  Beaux  Arts 
Architects  and  the  National  Sculpture  Society 
of  the  United  States  of  America. 

The  Star  Goddess  on  the  colonnades  of  the 
Court  of  the  Universe  amounts  to  a definite 
creation  of  a new  type  of  repeated  architectural 
finial — a human  figure  conventionalized  to  be 
come  architecturally  static — yet  not  so  devital- 
ized as  to  be  inert.  Based  on  another  style  of 
architecture  the  finials  of  the  cloister  of  the  Court 
of  Ages  serve  a correspondingly  related  purpose, 
and  the  crouching  figures  on  columns  in  this  court 
are  excellent  examples  of  decorative  crestings. 

The  groups  of  the  Nations  of  the  East  and 
the  Nations  of  the  West  are  new  types  in  motif 
and  composition  of  arch-crowning  groups — to  be 
seen  in  silhouette  against  the  sky  at  all  points. 

Both  of  these  are  grandly  successful  solutions 
of  problems  never  before  attempted  since  the 
ancients  imposed  the  quadriga  form  of  compo- 
sition. They  were  first  of  all  made  possible  by 
the  receptive  attitude  of  the  distinguished  archi- 
tects, Messrs.  McKim,  Mead  and  White — 
which  proves  conclusively  to  me  that  those  who 
are  most  versed  in  the  various  forms  of  antique 
arts  are  also  those  who  are  most  capable  of 
accepting  the  application  of  new  motifs  when 
sufficiently  proven,  and  of  quickly  assimilating 
genuine  contributions  to  the  growth  of  pro- 
gressive art.  By  so  doing  they  lend  to  them  all 
that  wealth  of  refined  elegance  that  has  come 
down  through  the  ages.  This  acceptance  in 

[ 7 ] 


The  SCULPTURE  and  MURAL  DECORATIONS 
itself  is  fraught  with  much  encouragement  to 
the  growing  school  of  public  sculpture  that  aims 
to  understand  the  principles  of  co-operation 
and  to  weld  them  to  an  ideal. 

The  above  is  true  also  of  the  Column  of 
Progress,  which  was  again  made  possible  by  the 
instant  comprehension  of  the  architect,  Mr.  W. 
Symmes  Richardson.  The  Column  illustrates 
a new  use  for  an  ancient  motif.  A type  of  monu- 
ment which  while  distinctly  architectural  in 
mass  has  been  humanized  by  the  use  of  sculpture 
embodying  a modern  poetic  idea.  Now,  Mr. 
Critic,  it  does  not  matter  in  the  least  whether 
you  care  for  this  idea  or  not.  The  fact  remains, 
and  is  all  important,  that  as  a type  of  sculptured 
column  it  is  new  and  fills  architectural  and 
aesthetic  requirements,  so  that  other  columns 
of  the  same  or  kindred  types  will  be  designed. 

The  Fountain  of  Energy  and  the  Fountain 
of  the  Earth  are  the  two  original  fountain  com- 
positions. By  which  is  meant  that  while  there 
are  many  other  very  charming  fountains  on  the 
grounds  they  are  distinctly  conceived  within  the 
rules  of  precedent  and  offer  no  new  suggestion 
of  type.  An  exposition  is  the  proper  place  to 
offer  new  types  in  design  and  execution  and 
happy  are  they  who  accept  the  challenge. 

The  fountains  in  the  Court  of  the  Universe 
are  examples  of  how  the  charm  of  sculpture  can 
vitalize  architectural  conventions.  The  crown- 
ing figures  of  these  fountains,  representations 
of  the  Rising  and  the  Setting  Suns,  have  achieved 
great  popularity. 

The  still  potent  charm  of  archaic  methods 
applied  to  modern  uses  is  well  illustrated  in  the 

[8] 


The  SCULPTURE  and  MURAL  DECORATIONS 
groups  of  the  “Dance”  and  of  “Music”  on  the 
terraces  of  the  Court  of  the  Universe.  Again 
on  the  rotunda  of  the  Fine  Arts  Palace  and  else- 
where this  tendency  crops  out  and  always  with 
the  assurance  of  pleasing.  The  group  repre- 
senting the  “Genius  of  Creation”  lends  a modify- 
ing note  of  refinement  against  the  vigorous 
Western  facade  of  Machinery  Building,  and  adds 
much  to  the  interest  of  the  vistas  north  and 
south  of  the  Avenue  of  Progress. 

There  are  figures  and  reliefs  of  genuine  feeling 
that  do  not  gain  by  resemblances  to  the  man- 
nerisms of  Rodin  and  Meunier,  that  are  not 
in  harmony  with  the  surrounding  architecture. 
The  original  figures  in  the  south  portal  of  the 
Palace  of  Varied  Industries  and  the  panel  over 
the  entrance  to  the  Palace  of  Liberal  Arts  are 
quite  successful  inserts  of  new  thought  in  old 
frames  in  spite  of  a touch  of  this  influence. 
Rodin,  the  emancipator  of  modern  sculpture, 
and  a notorious  anarchist  as  regards  architec- 
ture, is  not  always  applicable.  The  imitation 
of  his  style  induces  a negation  of  modelling 
only  in  evidence  in  one  of  his  manners  of  exe- 
cution. 

There  is  a vague  tendency  voiced  by  some 
critics  to  advance  the  theory  that  the  real  future 
democracy  of  art  depends  on  the  verdict  of  the 
man  in  the  street.  This  is  ridiculous.  The  future 
of  art  depends  on  no  one  class  of  men,  aristo- 
cratic or  democratic.  It  depends  on  all  men. 
Art  is  neither  democratic  nor  aristocratic.  It 
knows  no  class — it  is  concerned  with  life  at  large 
— elemental  life.  Art  is  praise  and  all  things  in 
life  are  its  subjects . 


[9] 


The  SCULPTURE  and  MURAL  DECORATIONS 

The  group  “Harvest”  surmounting  the  great 
niche  in  the  Court  of  the  Seasons  is  a fine  placid 
thing — and  the  bull  groups  on  the  pylons  are 
time-honored,  virile  conceptions  strikingly  placed. 

The  three-tiered  sculpture  groupings  of  the 
Tower  of  Ages  make  rich  appeal  in  relation  to 
the  romantic  architecture. 

There  are  groups  in  niches  in  the  west  walls 
that  will  remain  caviar  to  the  general,  but  which 
are  conceived  with  a fine  sense  of  decoration, 
and  need  only  a touch  of  relation  to  reconcile 
them  to  the  observer.  To  him  they  are  too 
strange.  Yet  strangeness  exists  and  if  suf- 
ficiently medicated  is  even  admired.  It  is  strange 
when  one  thinks  of  it,  to  have  had  an  Exposition. 

“The  End  of  the  Trail”  is  perhaps  the  most 
popular  work  on  the  grounds — the  symbolism  is 
simple  and  reaches  many,  with  just  the  right 
note  of  sentiment.  On  the  other  hand,  there  are 
those  who  have  gone  beyond  the  obvious  and 
prefer  less  realistic  subjects  particularly  in  re- 
lation to  architecture.  Of  this  kind  may  be 
found  many  inserts  and  details  making  no  par- 
ticular claim  for  attention  except  that  of  delight- 
ful enrichment.  The  details  of  the  Exposition 
are  excellent  and  sometimes  brilliant. 

“The  Pioneer”  is  not  wrell  understood.  The 
trappings  here  puzzle  the  realists  who  insist  on  a 
portrait  of  a certain  personage — Joaquin  Miller. 
The  sculptor,  I know,  intended  nothing  of  the 
sort.  It  is  his  vision  of  an  aged  pioneer  living 
over  again  for  a moment  his  prime.  Astride  his 
ancient  pony  hung  with  chance  trappings,  sym- 
bols of  association,  with  axe  and  rifle  with  which 
he  conquered  the  wilderness,  he  broods  the  past. 

[10] 


The  SCULPTURE  and  MURAL  DECORATIONS 

A mural  decoration  should  be  fitting  for  the 
place  which  it  embellishes — both  in  color  and 
composition.  The  subject,  also,  should  be  rela- 
tively interesting,  but  not  the  first  considera- 
tion as  is  the  color,  the  line,  the  chiaros-curo. 
At  a glance  the  decoration  should  be  the  jewel 
for  the  surrounding  space.  The  murals  at  the 
Exposition  are  rather  unusual  in  their  settings, 
where  every  building  and  every  court  is  so  replete 
with  Mr.  Guerin’s  splendid  coloring. 

Mr.  Brangwyn’s  decorations  are  by  far  the 
most  interesting  in  their  free  joyous  use  of  color 
and  amusing  composition.  From  about  the 
middle  of  the  cloister  under  the  arches  one  turns 
to  the  right  or  left  and  is  greeted  with  a pleasant 
surprise  of  color.  Then  the  story  appears  and 
is  bouyant  and  rich  in  execution.  One  is  rather 
shocked  when  standing  directly  near  or  under- 
neath by  the  big  patches  of  color  and  coarse 
drawing,  the  vulgar  types  not  well  enough  drawn 
to  move  our  admiration.  The  cloister  looked 
poor  to  have  such  rich  notes  in  each  corner,  but 
one  glance  without  the  arches  into  the  rich  and 
teeming  court,  and  we  were  reconciled  to  their 
placing. 

Mr.  Simmons’  color  note  is  pleasant,  seen 
across  the  great  court.  How  much  more  pleasant 
it  is  than  to  have  adopted  the  blue  of  the  heavens 
as  the  dominating  note — all  the  blue  decorations 
in  spite  of  their  many  excellences  look  dull  and 
grey  and  weary — the  painters  have  not  been 
able  to  play  up  to  and  dominate  the  brilliant 
blue  of  the  sky.  In  the  Court  of  the  Four  Seasons 
one  finds  color  notes  that  are  fitting,  though 
lacking  in  imaginative  interest. 

[ 11  ] 


The  SCULPTURE  and  MURAL  DECORATIONS 

From  the  Avenue  of  Palms  one  looks  across 
the  Court  of  Flowers  and  sees  over  an  opening 
what  appears  to  be  a crucifixion.  On  nearer 
view  one  is  undeceived.  The  rich  orange  color- 
ing and  darker  contrast  is  very  handsome.  It 
is  to  be  regretted  that  the  lunettes  over  the  other 
doors  are  again  that  watery  blue  from  heaven. 
Though  brilliant  in  themselves  and  clear  in  color- 
ing, none  of  the  three  decorations  in  this  court 
are  sufficiently  naive  in  design  for  the  space — 
much  too  smart  and  knowing,  they  might  be 
easel  picture  motifs  used  for  the  occasion.  The 
American  public  is  so  quick  and  clever  that  it  is 
difficult  to  find  in  the  painters  the  simplicity  of 
mind  necessary  for  such  work.  Again  we  find 
good  composition  and  brilliant  coloring  in  the 
two  wall  paintings  in  the  Pennsylvania  Building. 

The  Italians  have  given  us  an  imitation  of 
their  frescoing — the  doing  of  it  in  this  manner 
illustrates  the  simplicity  of  the  Italian  mind, 
but  does  not  convey  to  one  who  has  not  been  to 
Italy  the  absolute  grandness  of  Italian  fresco. 

This  is  not  a detailed  review  nor  can  justice 
here  be  done  to  all  that  honest,  earnest,  hopeful 
effort  of  the  world-loving  artist — he  who  delights 
in  the  myriad  phases  of  our  lovely-terrible  life, 
who  naively  labors  to  bring  forth  his  sonnet  of 
praise.  Be  kind  to  him  all  ye  who  contem- 
plate, and  remember  how  much  easier  it  is  to 
criticise  than  to — be  intelligently  sympathetic. 
It  is  all  for  you.  Take  what  you  like,  and  leave 
the  rest  without  pollution.  It  may  serve  to 
comfort  and  to  joy  thy  fellow-man. 

' A.  STIRLING  CALDER. 


[12] 


ILLUSTRATIONS  and  DESCRIPTIVE 
NOTES  of  the  SCULPTURE  and 
MURAL  DECORATIONS 
of  the  EXPOSITION 


FOUNTAIN  OF  ENERGY 
CENTRAL  GROUP,  SOUTH  GARDENS 


The  Fountain  of  Energy  in  the  place  of 
honor  within  the  main  entrance  gives  the 
keynote  of  the  Exposition — a mood  of 
triumphant  rejoicing.  The  proud  bearing 
of  the  equestrian  group,  the  wide  sweep  of 
water  when  the  fountain  is  in  play,  the 
sportive  movement  of  the  figures  in  the 
basin,  all  express  the  joy  of  achievement. 
In  the  conception  of  the  sculptor,  A.  Stirling 
Calder,  this  was  fitting  tribute  to  the  com- 
pletion of  the  Panama  Canal  which  the 
Exposition  celebrates. 

The  fountain  has  a double  significance.  In 
the  first  aspect  it  records  the  conquest  by 
Energy  of  the  labors  of  the  Canal.  In  the 
second  it  proclaims  the  approach  of  the 
Super-Energy  of  the  future.  Both  inter- 
pretations are  detailed  upon  the  following 
pages.  On  the  globe  supporting  the  horse- 
man are  indicated  the  sun’s  course  North 
and  South  and  the  evolution  of  mankind 
from  lower  to  higher  forms  of  life.  That  of 
the  strenuous  Western  hemisphere  is  con- 
noted by  a bull-man;  the  quiet  East  by  a 
cat-human.  Great  oceans  and  lesser  waters 
revel  in  the  fountain-bowl.  A garland  of 
merfolk  join  globe  to  base  with 
great  sculptural  beauty. 


[14] 


: ■' 


EQUESTRIAN  GROUP 
DETAIL,  FOUNTAIN  OF  ENERGY 


In  the  more  obvious  phase  of  the  fountain’s 
meaning,  Energy,  the  Lord  of  the  Isthmian 
Way,  rides  grandly  upon  the  earth,  tri- 
umphing because  of  the  Canal  so  well 
achieved.  His  outstretched  arms  have 
severed  the  lands  and  let  the  waters  pass. 
Upon  his  mighty  shoulders  stand  Fame  and 
Glory,  heralding  the  coming  of  a conqueror. 
The  second  and  more  subtle  intention  is 
nobly  prophetic.  Energy,  the  Power  of  the 
Future,  the  Superman,  approaches.  Twin 
inspirations — of  two  sexes  to  denote  the 
dual  nature  of  man — urge  him  onward. 
His  hands  point  upward,  contacting  human 
energy  with  Divine.  It  is  interesting  to 
note  the  steadiness  of  the  central  Hgure,  the 
sense  of  firmness,  security,  in  spite  of  the 
feeling  of  motion  in  the  whole.  This  is 
largely  due  to  the  hold  of  the  feet  upon  the 
stirrups  and  the  weight  of  the 
body  in  the  saddle. 


NORTH  SEA— ATLANTIC  OCEAN 
DETAILS,  FOUNTAIN  OF  ENERGY 


The  basin  of  the  Fountain  of  Energy  is 
devoted  to  the  revel  of  the  waters.  The 
genii  of  the  four  great  oceans  dominate  the 
scene.  They  are  mounted  upon  cavorting 
marine  monsters  and  surrounded  by  the 
smaller  waters,  fearlessly  playing,  head- 
downwards,  upon  dolphins  about  to  dive. 
The  Atlantic  Ocean  faces  East;  the  Pacific, 
West;  the  North  and  South  Seas  their 
appropriate  quarters.  The  symbolic  figures 
are  designed  to  interpret  the  spirit  of  the 
oceans  they  represent — the  Atlantic,  fine 
and  bright,  upon  her  armored  sword-fish; 
the  Pacific,  a beautiful,  graceful,  happily 
brooding  Oriental;  the  North  Sea,  finned 
and  glistening,  strange  and  eerie;  the  South 
Sea,  savage  and  tempestuous,  blowing  a 
fitful  blast.  The  lesser  waters  have  a lighter 
quality.  The  hair  of  the  sea-spirits  suggests 
seaweed  and  coral.  From  the  mouths  of 
of  the  sea-chargers  jets  of  water  rise  to 
meet  the  nimbus  and  rainbows  of  the 
semi-spherical  downpour  of 
the  main  fountain. 


[18] 


MERMAID  FOUNTAIN 
FESTIVAL  HALL,  SOUTH  GARDENS 


Long,  quiet  mirror  pools  flank  the  great 
Fountain  of  Energy,  giving  balance  and 
calm  to  the  entrance  plaza,  or  South  Gar- 
dens. They  are  oblong  in  shape  with  the 
farther  ends  curving  into  a graceful  convex. 
The  pools  are  surrounded  by  formal  flower- 
beds planted  to  correspond  to  the  beds 
surrounding  the  central  fountain,  thus  giving 
continuity  to  the  whole.  These  beds  are 
enclosed  by  a decorative  fence  which  follows 
the  outline  of  the  pools;  the  entering  paths, 
emphasized  at  the  outer  ends  by  flowrer 
urns,  at  the  inner  by  sculptural  light 
standards. 

The  curved  ends  of  the  pools  are  marked  by 
Arthur  Putnam’s  beautiful  Mermaid  Foun- 
tain, in  duplicate.  The  crowning  figure  is 
by  no  means  the  conventional  mermaid. 
She  is  free,  full  of  grace,  charmingly  poised. 
The  bifurcated  tail  is  original  and  gives 
sculptural  distinction  as  well  as  greater 
human  appeal.  The  figure  is  instinct  with 
a spirit  of  play  but  is  not  boisterous. 
Arthur  Putnam  is  a Californian  who  has 
greatly  influenced  the  development 
of  art  in  the  West. 


[20] 


TORCH  BEARER 

FINIAL  FIGURE,  FESTIVAL  HALL 


As  Festival  Hall  is  the  seat  of  the  Exposi- 
tion’s musical  life,  all  the  sculpture  on  and 
about  the  building  expresses  a lyrical  mood. 
The  sculptor  has  contrived  to  give  this 
feeling  great  variety;  but,  on  the  whole, 
the  large  reclining  figures — the  beautiful, 
relaxed  Reclining  Nymph  and  the  Listening 
God  over  the  great  pylons — seem  to  be 
meditatively  listening,  the  seated  figures 
have  a fanciful,  lighter  suggestion  and  those 
standing  give  a gentle  effect  of  rhythm.  The 
great  arches  are  marked  by  a cartouche 
emphasizing  this  intention. 

“The  Torch  Bearer”  here  pictured  is  lightly 
yet  firmly  poised  above  the  minor  domes. 
Exquisitely  silhouetted  against  the  sky,  she 
has  a spiral  beauty,  and  the  grace  of  one 
posed  in  the  midst  of  a dance.  The  work  of 
Sherry  Edmundsen  Fry,  who  made  all  the 
sculpture  on  Festival  Hall,  is  generally 
characterized  by  a classic  correctness  com- 
bined with  a modern  robustness.  It  lends 
itself  well  to  this  French  Renaissance  build- 
ing— a type  that  depends  upon  its 
sculptured  embellishments. 


[22] 


THE  MUSE  AND  PAN 
PYLON  GROUP,  FESTIVAL  HALL 


At  the  base  of  the  great  pylons  that  flank 
the  columnar  entrance  court  of  Festival 
Hall,  are  low  pyramidal  masses  of  foliage 
and  flowering  shrubs.  An  interesting  group 
by  Sherry  E.  Fry  is  set  in  the  midst  of  each. 
The  more  evident  figure,  mounted  upon  a 
decorative  pedestal,  is  identical  in  both 
groups — a classic,  flower-bearing  Muse,  who 
seems  to  step  softly  forward.  But  though 
the  Muse  is  repeated,  the  groups  vary  in  the 
smaller  seated  figures  at  the  base  of  the 
pedestals.  This  variation  is  not  felt  archi- 
tecturally, for  the  figures  balance  perfectly 
and  are  nestled  in  a mass  of  leafage.  At  the 
feet  of  the  Muse  before  the  northern  pylon 
a Boy  Pan  sits  among  the  flowers,  balanced 
in  the  southern  group  by  a Young  Nymph 
or  Dryad. 

The  gentle  dignity  of  the  standing  Muse  and 
the  reality  and  softness  of  her  draperies 
recall  the  same  sculptor’s  figure.  Peace, 
exhibited  in  the  department  of  Fine  Arts 
and  awarded  a medal  by  the  jury.  The 
architectural  beauty  of  these  groups,  in 
relation  to  the  arched  panels  of  the  pylons 
forming  their  background,  is  worthy  of 
study.  It  will  be  seen  that  the  group,  in 
spite  of  its  statuesque  quality,  is  actually 
part  of  the  wall  surface.  The  beauty  of  the 
ensemble  is  greatly  enhanced  by 
the  sympathetic  planting. 


[24] 


BOY  PAN 

DETAIL,  PYLON  GROUP,  FESTIVAL  HALL 


Without  doubt  the  most  popular,  if  not  the 
most  admired,  of  the  statues  that  adorn 
Festival  Hall  is  the  “Boy  Pan,”  nestled  in 
the  foliage  at  the  base  of  the  pedestal  in  the 
group  just  described.  This  roguish  little 
god  of  woodland  music  has,  besides  his  tra- 
ditional attributes,  a certain  urchin  quality 
that  is  very  appealing.  He  has  just  taken 
his  pipe  from  his  lips,  momentarily  diverted 
by  the  presence  of  an  alert  lizard  his  melody 
has  attracted.  The  lizard  is  here  hidden  in 
the  leafage.  The  arch  amusement  of  the 
whole  figure,  the  mischievous,  boyish  smile 
upon  his  face,  have  allurement,  just  lifted 
from  the  normal  by  the  quaint  suggestion 
of  small  horns  still  in  velvet.  Here  in  his 
youth  is  the  wholesome,  simple,  poetic  Pan 
of  the  earlier  myths,  he  who  grew  into  the 
“Great  God  Pan,”  rather  than  the  hero  of 
the  more  subtle  and  diversified  later  legends. 
His  pertness  is  contrasted  with  the  shy 
modesty  of  the  Young  Nymph,  the  com- 
panion figure  at  the  foot  of 
the  opposite  pylon. 


DETAIL,  SPIRE  BASE 
PALACE  OF  HORTICULTURE 


The  Palace  of  Horticulture,  a combination 
of  French  Renaissance  with  the  Byzantine, 
is  consistently  flowery  in  decoration.  It  has 
been  given  a carnival  expression.  The 
general  sculptured  adornments  are  heavy 
garlands  and  overflowing  baskets,  and  pro- 
fuse ornamentations  of  flowers.  Large 
flower-decked  jars  stand  in  niches;  the 
cartouches  bear  the  flower  motif.  Sugges- 
tions of  lattices  and  arbors  appear  in  the 
low  domes  on  the  porches  surrounding  the 
great  greenhouses,  reminiscent  of  French 
garden  architecture  of  the  Great  Age. 

The  superb  central  glass  dome  that  gives 
the  building  distinction  is  crowned  by  a 
huge  flower  basket  and  draped  at  its  base 
by  a long  garland.  At  the  foot  of  the 
sharply  ascending  spires — the  slender  shafts 
of  which  are  carved  with  conventionalized 
vines  and  bear  tapering  flower  urns  as 
finials — stand  graceful  garlands  of  girls. 
These  pleasing  spire  bases,  the  attendants 
of  Flora,  are  by  Ernest  Louis  Boutier,  a 
Parisian.  They  carry  small  baskets  of 
flowers  on  their  heads,  a chain  of  flowers 
binds  them.  The  same  feeling  is  continued 
in  the  caryatides  on  this  building,  by  John 
Bateman.  These,  also  flower-capped,  are 
repeated  on  the  Press  and  Y.  W.  C.  A. 
buildings,  smaller  structures  in  the  South 
Gardens  adjoining  the  Horticultural  Pal- 
ace, thus  unifying  the  buildings 
in  the  plaza. 


[28] 


CORTEZ 

IN  FRONT  OF  TOWER  OF  JEWELS 


Equestrian  statues  of  Cortez  and  Pizzaro 
stand  in  the  Avenue  of  Palms  at  the  base  of 
the  Tower  of  Jewels  to  suggest  the  early 
history  of  the  South  and  West  of  this 
hemisphere  as  a background  to  the  present 
achievements  at  Panama  and,  indeed,  at 
San  Francisco.  This  spirited  and  romantic 
presentation  of  the  fearless  conquistador, 
Hernando  Cortez,  shows  him  at  the  very 
height  of  his  proud  successes.  Charles 
Niehaus,  whose  work  is  always  direct  and 
convincing,  has  made  us  feel  the  Spanish 
conqueror’s  own  sense  of  victory.  We  know 
that  now  Mexico,  the  Tlascalans  and  the 
Emperor  Montezuma  have  been  vanquished, 
that  the  victor’s  ruthless  ambition  is  already 
dreaming  of  the  conquest  of  New  Spain  and 
the  navigation  of  the  Pacific.  There  are 
infused  into  the  work  a brilliancy  and  dash 
that  fill  the  imagination  with  the  glamor  of 
that  picturesque  period  of  history.  The 
perfect  horsemanship,  the  restrained  but 
vigorous  motion,  the  whole  bearing,  have  a 
stirring  beauty.  There  is  also  intended  and 
expressed  in  the  countenance  a sense  of 
vision,  as  if  Cortez  had  here  a prophetic 
moment  in  which  he  saw  the  future  of 
the  continent  he  claimed. 


PIZARRO 

IN  FRONT  OF  TOWER  OF  JEWELS 


Pizzaro,  the  companion  equestrian  to  Cortez, 
is  the  work  of  Charles  Cary  Rumsey.  The 
grim,  stern  and  epic  history  of  the  bold, 
arrogant  adventurer  who  was  merciless  in 
success  and  dauntless  in  failure  is  ruggedly 
suggested  by  this  figure,  mounted  upon  a 
heavily  armored  charger  and  advancing 
with  drawn  sword.  The  fact  that  Pizzaro 
was  a member  of  Balboa’s  party  when  that 
explorer  discovered  the  Pacific  and  that  he 
himself  was  in  charge  of  a Spanish  colony 
at  Darien  in  1510,  makes  his  appearance  at 
this  Exposition  appropriate.  But  it  is,  after 
all,  the  conqueror  of  the  Incas,  the  indomit- 
able, who  spared  neither  his  men  nor  his 
enemy  until  the  rich  cities  of  the  Southern 
Empire  had  been  pillaged  of  their  gold  and 
destroyed,  who  is  here  portrayed.  After 
achieving  wealth  and  honors  Pizzaro  was 
slain  by  the  followers  of  a rival  conquistador. 
The  position  of  these  two  equestrians  is  well 
chosen;  the  colonnade  of  the  Tower 
makes  an  impressive  background. 


THE  PIONEER 
AVENUE  OF  PALMS 


History  of  a later  period,  nearer  to  the  heart 
of  Westerners,  is  embodied  in  Solon  Borg- 
lum’s  lusty  and  venerable  Pioneer.  This 
impressive  equestrian  stands  on  the  Avenue 
of  Palms  at  the  entrance  to  the  Court  of 
Flowers.  It  is  interesting  to  note  that,  in 
this  rugged  and  commanding  figure,  fine- 
ness, dignity  and  nobility  are  emphasized 
as  well  as  the  more  customary  endurance 
and  hardihood  conventionally  associated 
with  the  character.  On  the  leather  trap- 
pings of  the  old  Pioneer’s  horse,  the  tepee, 
the  canoe  and  other  symbols  of  Indian  life 
are  marked.  The  sculptor  is  himself  the 
son  of  pioneers  and  has  treated  this  subject 
with  sincerity  and  affectionate  insight.  The 
Pioneer  has  been  greatly  appreciated  and 
has  received  special  notice  in  a number  of 
addresses  delivered  by  distinguished  guests 
of  the  Exposition.  Its  veracity  is  attested 
by  the  fact  that  resemblance  to  several 
famous  pioneers  has  been  imagined  in 
it  by  their  admirers. 


[34] 


ini 


THE  END  OF  THE  TRAIL 
AVENUE  OF  PALMS 


Still  further  back  into  the  historical  records 
of  American  stamina  goes  The  End  of  the 
Trail  by  James  Earle  Fraser.  No  single 
work  of  art  at  the  Exposition  has  attracted 
more  popular  applause  than  this.  It  has  a 
gripping,  manly  pathos  that  makes  a direct 
appeal.  The  physical  vigor  of  the  rider, 
over-tried  but  sound,  saves  it  from  mere 
sentiment.  An  Indian  brave,  utterly  ex- 
hausted, his  strong  endurance  worn  through 
by  the  long,  hard  ride,  storm-spent,  bowed 
in  the  abandon  of  helpless  exhaustion,  upon 
a horse  as  weary  as  he,  has  come  to  the  end 
of  the  trail,  beyond  which  there  is  no  clear 
path.  It  is  easy  to  apply  the  message  of 
this  statue  to  the  tragedy  of  the  American 
Indian’s  decline  upon  the  continent  he  once 
possessed.  The  sculptor  acknowledges  as 
his  text  these  words  of  Marian  Manville 
Pope:  The  trail  is  lost , the  path  is  hid  and 

winds  that  blow  from  out  the  ages  sweep  me 
on  to  that  chill  borderland  where  Time's 
spent  sands  engulf  lost  peoples 
and  lost  trails. 


[36] 


HISTORIC  TYPES 

FINIAL  FIGURES,  TOWER  OF  JEWELS 


As  repeated  alternating  figures  on  the  top  of 
corner  pedestals  on  the  first  stage  of  the 
Tower  of  Jewels,  stand  The  Four  Agents  of 
Civilization,  the  historic  influences  that  have 
developed  our  American  life.  These,  the 
Adventurer,  the  Soldier,  the  Priest  and  the 
Philosopher,  have  been  presented  with  vivid 
simplicity  by  John  Flanagan. 

He  has  given  us,  first,  the  Adventurous  Ex- 
plorer, romantic,  courageous,  he  who  crossed 
the  uncharted  seas  and  found  new  worlds; 
then  the  formidable  conquering  Soldier,  he 
who  founded  settlements  and  held  them 
with  his  sword  or  fought  with  natives  for 
empire  or  riches  for  European  monarchs; 
then  the  Missionary  Priest,  inspired  with  a 
holy  zeal  to  spread  the  divine  message  to 
strange  peoples;  and,  last,  the  Philosopher, 
the  Thinker,  whose  great  influence  is  but 
now  beginning.  The  treatment  of  these 
figures  is  quiet,  restful  and  architectural  in 
feeling,  as  becomes  their  position.  They 
supply  the  serious  note  to 
the  gala  Tower. 


[38] 


FOUNTAIN  OF  YOUTH 
COLONNADE,  TOWER  OF  JEWELS 


Within  the  colonnades  of  the  Tower  are  two 
wall-fountains  by  American  women.  The 
Fountain  of  Youth  in  the  eastern  colonnade 
is  the  work  of  Edith  Woodman  Burroughs. 
She  has  given  us  the  eternally  desired  foun- 
tain in  a new  aspect,  not  as  the  legendary 
restorative  that  changes  age  to  adolescence, 
but  as  the  fount  of  perpetual  youth  that 
keeps  inspiring  and  vivifying  the  race  and 
every  stage  of  our  life. 

An  exquisite  nude  girl  stands  in  a beauti- 
fully balanced  archway  rising  like  a flower 
from  a pedestal  on  which  are  seen,  like 
roots,  vaguely  outlined,  the  faces  of  her 
ancestors.  She  is  Youth,  the  center  of  life, 
for  which  the  world,  its  dreams  and  its 
rewards  are  made.  The  side  panels  show 
the  ships  of  life  laden  with  the  aged  and 
manned  by  infants,  off  on  the  sea  of  time 
on  the  endless  quests  upon  which  youth  and 
desire  for  its  fulfilments  keep  the  world 
launched.  However,  the  enduring  charm 
of  the  fountain  certainly  comes  from  the 
little-girlhood  of  the  central  figure,  the 
gentle,  expectant  sweetness  of  waning  child- 
hood and  the  perfect  purity  of  the 
emotion  it  produces. 


[40] 


FOUNTAIN  OF  EL  DORADO 
COLONNADE,  TOWER  OF  JEWELS 


Within  the  West  colonnade  of  the  Tower  of 
Jewels  is  the  other  fountain  desired  by  all 
the  world — the  Fountain  of  El  Dorado. 
Like  the  Fountain  of  Youth  it  is  connected 
by  legend  with  early  Spanish  exploration  in 
America.  Long  ago,  the  story  goes,  there 
lived  in  Mexico  or  South  America  a golden 
king  who  scattered  treasures  along  his  path. 

El  Dorado  and  his  realm  have  long  been 
symbols  of  the  elusive  gold  sought  by  man- 
kind in  all  ages  and  every  clime. 

In  this  fountain  by  Gertrude  Vanderbilt 
Whitney,  it  is  not  the  mere  possession  of 
wealth  that  is  so  sought,  but  those  joys  of  * 
which  our  mistaken  imaginings  make  gold 
the  symbol.  In  the  central  composition 
here  pictured,  the  Gilded  One  has  vanished 
through  the  portals.  Impersonal,  unre- 
sponsive attendants  in  Aztec  garb  guard 
the  door  from  suppliant  followers.  With 
subtle  symbolism  they  give  no  sign  as  to 
whether  or  not  they  will  relent  and  give 
entrance.  But  the  fact  that  branches 
of  trees  have  grown  close  across  the 
opening  seems  to  imply  that 
hope  is  slight. 


[42] 


FRIEZE 

DETAILS,  FOUNTAIN  OF  EL  DORADO 


Two  long  curving  panels  supplement  the 
main  archway  of  the  Fountain  of  El  Dorado. 
They  represent  the  striving  of  humankind 
for  Power  and  Possession.  Some  by  prowess, 
some  by  thought;  some  gaily,  some  sorrow- 
fully; some  urgent,  some  patient;  some  rush- 
ing, some  lingering — all  press  onward  toward 
the  longed-for  goal.  Here  and  there  one 
falls  fainting;  another  halts  for  love  or  pleas- 
ure or  indifference.  Some  stop  to  lift  or 
help  the  fallen,  others  press  by  unheeding. 
The  certain  sad  fatality  of  the  concept  is 
relieved  of  its  pang  by  the  light  and  fluent 
beauty  of  treatment.  The  idea  is  perhaps 
a little  grim,  but  the  handling  is  pleasant 
and  the  impression  agreeable.  The  beauty 
of  both  the  colonnade  fountains  is  enhanced 
by  the  lines  of  the  water  in  the  cascade  stair- 
way. In  the  Fountain  of  El  Dorado  this 
effect  is  increased  by  a line  of  balanced  jets 
flowing  from  dolphin  heads  in 
the  lower  panel. 


NATIONS  OF  THE  EAST 
GROUP,  ARCH  OF  THE  RISING  SUN 


Across  the  great  Court  of  the  Universe,  the 
Court  of  Honor  of  the  Exposition,  the 
Nations  of  the  East  and  West  face  each 
other  from  the  summits  of  their  triumphal 
arches.  They  express  the  coming  brother- 
hood of  man,  the  nations  brought  closer  by 
Canal  and  Exposition,  and  the  fact  that 
civilization  has  girdled  the  earth.  Inscrip- 
tions characteristic  of  Eastern  and  Western 
wisdom  are  engraved  beneath  them.  These 
heroic  groups  are  the  result  of  the  successful 
collaboration  of  A.  Stirling  Calder,  Frederick 
G.  R.  Roth,  and  Leo  Lentelli. 

In  the  Eastern  group  here  pictured,  about  a 
richly  caparisoned  elephant  stand  the  camel  . 
drivers,  Egypt  and  Assyria;  the  equestrians, 
Arabian  and  Mongolian;  two  Negro  Servitors; 
the  Bedouin  Falconer  and  the  Chinese 
Llama.  The  pyramidal  composition  is 
massive  and  the  Eastern  spirit  nobly  sus- 
tained. On  pylons  before  both  arches,  Leo 
Lentelli’s  Guardian  Genii — calm, impressive, 
winged  spirits — guard  the  universe.  The 
unity  of  men  and  nature  are  denoted  by 
the  Rising  and  Setting  Sun  fountains,  the 
row  of  Stars,  the  Zodiac  friezes  and  the 
Elements.  Of  these,  “Air  and  Earth”  appear 
in  the  foreground  of  the  picture.  In  the 
distance  is  “Music,”  one  of  the  classic  groups 
contacting  the  Court  with  the  carnival 
spirit.  All  these  are  described 
on  later  pages. 


[46] 


PEGASUS 

SPANDRELS,  EAST  AND  WEST  ARCHES 


These  spandrels,  by  Frederick  G.  R.  Roth, 
are  interesting  artistically,  not  only  for  the 
eager  sweep  and  sense  of  bigness  not  usual 
in  the  narrow  scope  of  a spandrel,  but 
especially  for  their  warm  decorative  value 
to  the  wall  surface  and  the  aspiring  way  in 
which  they  follow  the  rising  line  of  the 
archway  over  which  they  are  placed.  The 
spandrels  are  made  in  very  vigorous  low 
relief.  They  express  the  place  of  poetry  in 
the  Universe.  For,  in  this  court  that  cele- 
brates man’s  achievements  in  the  East  and 
West,  and  Nature’s  gifts  to  all,  the  poet  on 
his  winged  horse  appears  to  inspire  the  one 
and  interpret  the  other.  The  spandrels 
throughout  the  Exposition  are  noteworthy. 
It  is  significant  of  the  artistic  conscientious- 
ness in  detail  of  those  who  planned  the 
sculpture  that  these  and  other  smaller  pieces 
are  so  uniformly  beautiful.  Notable  among 
them  are  August  Jaegers’  spandrels  in  the 
Court  of  the  Four  Seasons  and  Albert 
Weinert’s  in  the  Court 
of  Palms. 


THE  STARS 

A DETAIL  OF  THE  COLONNADE 


A sense  of  eternal  spaces,  the  feeling  of  calm 
and  elemental  tranquillity,  is  given  to  the 
Court  of  the  Universe  by  the  Surrounding 
Colonnade  of  Stars.  The  quiet  stars  look 
down  upon  the  activities  of  men.  The  semi- 
conventionalized  Star  figure,  light  and  firm, 
repeated  about  the  Colonnade  is  a highly 
important  factor  in  the  architectural  beauty 
of  the  Court.  She  stands  a-tiptoe  on  the 
globe  that  forms  her  pedestal;  the  circle  of 
her  arms  about  the  starry  head-dress  implies 
the  endlessness  of  space.  The  pointed  head- 
dress is  hung  with  jewels  of  the  kind  that 
decorate  the  tower.  These  carry  the  jubi- 
lant idea  of  the  tower  around  the  Court. 
They  twinkle  brilliantly  where  the  sun 
strikes  them  and  are  illuminated  by  thin 
shafts  of  searchlight  at  night.  This  Star 
figure  by  A.  Stirling  Calder  has  been  repro- 
duced in  the  insignia  of  the  Exposition  on 
a number  of  its  official  engravings  and  is  the 
central  design  of  the  gold  badges  of  the 
Directors  and  the  silver  badges  of 
the  Chiefs  of  Departments. 


EARTH 

DETAIL,  ONE  OF  “THE  ELEMENTS” 


The  Four  Elements,  heroic  pieces  by  Robert 
I.  Aitken,  are  placed  at  the  top  of  the  main 
stairways  leading  down  into  the  sunken 
gardens  of  the  Court  of  the  Universe.  In 
spite  of  their  imaginative  themes,  these 
massive  works  have  the  same  gripping 
reality  that  characterizes  all  the  later 
method  of  this  sculptor.  He  has  treated 
the  elements,  especially  “Earth”  and  “Air,” 
in  their  relation  to  man.  As  here  pictured, 
“Earth,”  the  quiet  mother,  sleeps  on  her 
rocks,  over  which  little  human  beings  strug- 
gle and  toil.  The  rear  view  of  “Air,”  the 
group  on  the  opposite  side  of  the  same  stair- 
way, may  be  seen  in  the  foreground  of  the 
plate  illustrating  The  Nations  of  the  East. 
“Air”  holds  a star  in  her  hair;  she  has  great 
wings  and  is  attended  by  floating  sea-gulls. 
Behind  her,  a man  has  strapped  his  arms  to 
her  mighty  pinions,  signifying  the  effort  of 
the  present  age  to  ride  the  winds.  “Fire” 
and  “Water,”  across  the  gardens,  are  shown 
in  vivid  action;  “Fire”  roaring  with  his 
salamander,  and  “Water”  blowing  a 
stormy  gust  across  the  waves. 


[52] 


THE  SIGNS  OF  THE  ZODIAC 
FRIEZE  ON  THE  CORNER  PAVILIONS 


Low  relief,  the  form  that  is  so  difficult  and 
so  beautiful  and  satisfying  when  perfectly 
achieved,  is  at  its  finest  in  the  sculptured 
mural  panels  that  crown  the  corner  pavilions 
of  the  Court  of  the  Universe  and  the  Fore- 
court of  the  Stars.  These  are  the  panels  of 
“The  Signs  of  the  Zodiac,”  by  Hermon  A. 
MacNeil,  who  is  better  known  to  Exposition 
visitors  by  his  finial  group,  “The  Adven- 
turous Bowman,”  on  the  Column  of  Progress. 
The  idea  of  the  overhanging,  serene  heavens, 
expressed  by  the  Star  Colonnade,  is  extended 
by  these  panels.  About  the  central  figure 
of  Atlas  or  Time,  his  heavenly  daughters 
move,  bearing  the  Zodiacal  symbols,  to 
indicate  the  sweep  of  the  constellations  and 
the  onward  march  of  time.  This  impression 
of  the  steady,  slow  passage  of  our  days  is 
increased  by  the  gentle  motion  of  the  figures, 
so  slight  as  to  be  felt  rather  than  seen.  The 
frieze  has  a clean-cut  effect  almost  cameo- 
like in  its  precision  and  the  harmony  and 
grace  of  the  whole  composition  have  fre- 
quently been  found  suggestive  of  the 
decorations  on  an  Attic  urn. 


[54] 


NATIONS  OF  THE  WEST 
GROUP,  ARCH  OF  THE  SETTING  SUN 


As  we  look  across  the  Court  of  the  Universe 
towards  the  Nations  of  the  West,  the  vast- 
ness of  the  Court  and  the  commanding 
effect  of  these  great  groups  of  the  nations 
impress  us.  The  high  columns  of  the  Rising 
and  Setting  Sun  fountains,  the  monumental 
groups  of  the  “ Elements/*  the  classic 
“Music”  and  “Dance”  of  heroic  size,  are 
merged  in  the  splendid  sweep  of  the  Court; 
the  dignified  circle  of  sculptured  light- 
standards  is  dwarfed  by  the  perspective. 
But  these  mighty  processional  masses  of  the 
Nations  still  dominate  the  whole.  This 
western  group,  companion  to  the  Nations  of 
the  East,  centers  about  the  prairie  schooner, 
which  balances  the  elephant  in  the  opposing 
composition,  and  the  girlish  figure  of  a young 
pioneer  mother,  poetically  called  “The 
Mother  of  Tomorrow.”  Accompanying  her 
are  represented  the  nations  that  have  con- 
tributed to  our  American  civilization.  The 
group  is  by  the  same  sculptors  in  collabo- 
ration who  made  the  group  of  eastern 
nations.  The  four  equestrians,  the  Latin- 
American,  the  French-Canadian,  the  Anglo- 
American,  the  Indian  and  the  trudging 
Squaw  are  by  Leo  Lentelli;  the  pedestrian 
figures,  the  bowed  Alaskan  women,  the 
German  and  the  Italian  are  by  F.  G.  R. 
Roth,  who  made  also  the  oxen  and  the 
prairie  schooner.  The  Mother  and  the 
crowning  symbolic  group  of  “Enterprise” 
and  the  “Hopes  of  the  Future”  are  by  A. 

Stirling  Calder,  who  is  responsible 
for  the  general  composition. 


[56] 


ENTERPRISE 

DETAIL,  NATIONS  OF  THE  WEST 


The  prairie  schooner  that  forms  the  axis  of 
the  Nations  of  the  West  is  crowned  by  an 
animated,  imaginative  group  so  perfectly 
co-ordinated  with  the  realistic  main  compo- 
sition that  it  causes  no  sense  of  discord. 
This  group  of  “Enterprise”  and  the  “Hopes 
of  the  Future”  by  A.  Stirling  Calder,  forms 
the  apex  of  the  pyramidal  construction.  It 
gives  the  required  height  and  balances  the 
howdah  on  the  elephant  in  the  companion 
group,  the  Nations  of  the  East,  on  the 
opposite  archway.  The  spirit  of  Enterprise, 
a kneeling  figure  whose  encircling  wings 
carry  the  rewards  of  the  world,  calls  aloud 
to  summon  initiative,  encouragement  and 
perseverance  to  the  brave  and  adventurous 
who  advance  our  progress.  This  Enterprise 
is  the  pioneer  spirit  that  discovered  and 
developed  America.  At  the  feet  of  Enter- 
prise sit  the  Hopes  of  the  Future;  two  boys, 
one  white,  the  other,  negro.  These  sound 
the  note  of  deep  humanity  that  underlies 
the  poetry  of  the  conception.  This  group 
of  the  Western  nations  has  an  appro- 
priate sub-title,  “The  Pioneers.” 


DANCE 

BALUSTRADE, COURT  OF  THE  UNIVERSE 


At  the  top  of  the  longitudinal  stairways  in 
the  Court  of  the  Universe  are  Paul  Man- 
ship's  “Music"  and  “Dance.”  These  are 
typical  examples  of  that  sculptor's  power 
to  combine  classic  restraint,  sculptural  dig- 
nity and  grace  of  line  with  complete  freedom 
and  untrammeled  ease  of  method.  They 
express  a musical  mood,  supplying  the  honor 
of  musical  art  to  the  otherwise  incomplete 
celebration  of  man’s  achievements.  In 
“Dance,”  here  reproduced,  the  beautiful 
movement  of  the  figures  and  the  garlands, 
full  in  volume  but  light  in  weight,  are 
superlatively  well  presented.  A glimpse  of 
the  companion  group,  “Music,”  can  be  had 
in  the  plate  devoted  to  the  Nations  of  the 
East.  In  this  are  two  classic  male  figures, 
the  Composer  and  the  Musician.  One  holds 
an  open  scroll  from  which  the  other  reads 
as  he  pauses  in  touching  the  strings  of  a lyre. 
A number  of  distinguished  exhibits  by  Mr. 
Manship,  showing  all  phases  of  his  art, 
appear  in  the  Palace  of  Fine  Arts  where 
he  has  been  awarded  the  honor 
of  a gold  medal. 


[60] 


THE  RISING  SUN 

FOUNTAIN,  COURT  OF  THE  UNIVERSE 


“The  Rising”  and  “The  Setting  Sun,”  by 
Adolph  A.  Weinman,  stand  high  against  the 
heavens  on  tall  shafts  that  rise  from  fountain 
bowls.  They  are  inspired  with  a sort  of 
rapturous  imagery  and  they  so  inspire  the 
beholder.  “The  Rising  Sun,”  a youth  with 
outstretched  wings,  a figure  suggestive  of 
gladness,  hope  and  the  dawn  of  high  adven- 
ture, is  a fitting  symbol  of  the  sunrise.  He 
seems  “a-tiptoe  for  a flight”  on  the  summit 
of  his  column;  his  profile  against  the  sky  is 
superb.  On  the  opposite  column  “The 
Setting  Sun,”  a young  woman  with  pensive 
face,  shaded  by  her  hair  and  drooping  wings, 
sinks  to  rest.  These  figures  stand  on  trans- 
lucent shafts  that  are  pillars  of  light  in  the 
evening.  They  bear  garlanded  capitals  and 
rise  from  double  fountain  bowls  bound 
together  by  rising  and  falling  jets  and  sheets 
of  water.  The  column  bases  are  finished 
with  beautiful  friezes,  one  symbolic  of  the 
Sun  of  Truth,  the  other  of  the  Peace  of 
Night.  Winged  mermen  support  the  upper 
basin;  sea-creatures  gambol 
in  the  lower. 


[62] 


4 


COLUMN  OF  PROGRESS 
IN  THE  FORECOURT  OF  THE  STARS 


One  of  the  most  serious  and  thoughtful 
works  of  the  Exposition  sculpture  is  the 
Column  of  Progress  which  faces  the  bay  at 
the  end  of  the  Forecourt  of  Stars.  This 
column  represents  with  direct  imagery  the 
upward  progress  of  man.  The  shaft  itself  is 
sculptured  with  conventionalized  waves  in  a 
gradually  ascending  spiral,  upon  which  a 
repeated  vessel,  the  Ship  of  Life,  sails 
upward,  indicating  the  slow  upward  rise  of 
our  life.  The  lower  panels,  significant  of 
man’s  endeavors,  are  described  on  the 
following  page.  The  crowning  group,  “The 
Adventurous  Bowman,’’  noble  in  intent  and 
in  sculptural  power,  is  from  the  hand  of 
Hermon  A.  MacNeil.  At  the  highest  point 
of  man’s  achievement,  stands  this  Adven- 
turous Bowman,  the  super-hero,  the  leader, 
the  man  with  insight  into  the  future,  who 
shoots  his  arrow  into  the  Sun  of  Truth. 
Behind  him  the  next  man  supports  and  is 
protected  by  him.  Beside  him  kneels  the 
woman  with  his  reward  in  her  hands.  The 
frieze  beneath  the  group  shows  the  Burden- 
Bearers  on  whose  shoulders  the  hero  stands — 
an  arresting  thought;  reminder  of 
the  true  values  in  modern  life. 


[64] 


FRIEZE 

BASE,  COLUMN  OF  PROGRESS 


The  four  panels  at  the  base  of  the  Column 
of  Progress  sympathetically  express  its 
exalted  idealism.  They  are  by  Isadore 
Konti,  in  richly  wrought  high  relief.  The 
play  of  color  values,  the  planes  of  light  and 
shade,  are  handled  with  mastery.  These 
four  panels  indicate  that  the  thought,  the 
dream,  the  aspiration,  the  dutiful  devotion 
underlying  all  the  labors  of  the  common  day 
are  the  source  of  their  progress.  One  panel 
shows  the  higher  toils  of  the  mind,  as  in  the 
arts  and  statesmanship.  In  the  center  of 
this  stands  the  inventor  or  leader  of  thought 
with  the  eagle  of  aspiration  above  him. 
Another  shows  the  motives  of  love  and  pain 
and  prayer  and  the  central  power  of  labor 
as  movers  of  the  world.  Still  another, 
which  is  shown  here,  expresses  the  humbler 
toils  of  mankind;  even  they,  it  says,  progress 
upward  through  the  thinker  who  pauses  in 
their  midst  to  dream.  The  other  panel  here 
pictured  represents  the  triumph  of  man’s 
endeavors,  and  the  successes  that  spur 
to  greater  achievements. 


PRIMITIVE  AGES 
ALTAR  TOWER,  COURT  OF  AGES 


The  Tower  of  Ages,  in  the  Court  of  Ages, 
represents  Evolution.  The  lower  group, 
here  illustrated,  presents  “The  Early  Ages.” 
This  shows  the  development  of  man  from 
his  physical  beginnings  among  the  creatures 
of  the  ooze  up  through  the  cave  man  and 
the  Stone  Age  to  the  growth  of  the  family 
ideal  out  of  which  sprang  a higher  civili- 
zation. The  second  group  shows  “The 
Middle  Ages.”  Its  three  figures  are  the 
Monk,  the  Armored  Bowman,  and,  at  the 
apex,  the  Crusader,  the  highest  expression 
of  idealism  of  that  period.  “The  Present 
Age”  crowns  the  whole,  upon  an  altar  sits 
the  Woman  Enthroned  and  Enshrined.  Her 
children,  the  future,  are  at  her  feet.  Their 
finger-tips  touch  a symbol,  the  Cosmos. 
One  bears  a book,  the  other  the  wheel  of  a 
machine.  Figures  of  Mutation  flank  the 
central  composition.  The  sculpture  on  the 
Tower  of  Ages  is  by  Chester  A.  Beach, 
whose  emancipated  and  vigorous  manner  is 
exactly  suited  to  the  presentment  of 
these  strong  ideas. 


[68] 


PRIMITIVE  MAN 

ARCADE  FINIAL,  COURT  OF  AGES 


In  accord  with  the  basic  idea  of  the  begin- 
ning, change  and  upward  growth  of  the 
human  race  and  its  emotional  life  that  are 
emphasized  in  this  eastern  court,  rough, 
plastic  figures  of  “Primitive  Man”  and 
“Primitive  Woman”  surmount  the  elaborate 
arcade.  They  harmonize  with  the  concep- 
tion and  treatment  of  the  group  on  the 
Tower  of  Ages.  They  are  the  work  of  Albert 
Weinert,  the  sculptor  who  made  the  much- 
admired  “Miner”  in  the  portal  niches  of  the 
Palace  of  Mines  and  Metallurgy,  and  “Phi- 
losophy” on  Administration  Avenue.  He 
presents  these  parents  of  civilization  at  the 
transition  stage  when  they  are  still  savage 
but  have  become  physically  upright  and 
begun  to  develop  the  elementary  glimmering 
of  intellectual  and  emotional  consciousness. 
They  stand  as  finials  on  the  continued 
columns  that  pierce  the  arcade  wall  and 
emphasize  the  arches.  Dividing  the  spaces 
above  them,  on  a higher  level,  are  repeated 
finials  of  a pert  chanticleer,  emblem  of 
the  east,  the  dawn  and 
immortality. 


[70] 


FOUNTAIN  OF  EARTH 
CENTRAL  GROUP,  COURT  OF  AGES 


Here  is  one  of  the  most  majestic  and  impos- 
ing enrichments  of  contemporary  art  devel- 
oped by  the  Exposition.  The  Fountain  of 
Earth  by  Robert  I.  Aitken  has  compelled 
the  attention  of  the  world  of  art  and  won 
the  gold  medal  for  sculpture  of  the  year 
offered  by  the  Architectural  League.  In 
this  fountain  the  idea  of  man’s  evolution 
takes  a subtler  and  more  profound  signifi- 
cance. In  general,  it  shows  the  development 
and  growth  of  love  from  its  lower  to  higher 
forms  and  the  upward  effect  of  that  spirit- 
ualization upon  the  life  of  the  earth.  In  the 
secondary  group,  a prelude  and  epilogue  to 
the  main  composition,  on  the  prow  of  the 
Ship  of  Earth  are  grouped  the  loves,  greeds, 
passions,  griefs  and  spiritual  cravings  of  man 
and  woman,  who  come  and  go  from  the 
Unknown  to  the  Unknowable.  The  great 
arms  of  Destiny,  pushing  and  pointing, 
giving  and  taking,  guide  the  way.  Between 
the  four  panels  of  Life  on  the  Earth,  stand 
the  Hermes,  milestones  of  ancient  Rome, 
here  used  as  milestones  upon  the  road  of 
Time.  Sea-creatures  indicate  our  origin  in 
the  waters.  The  description  of  the  panels 
follows  on  succeeding 
pages. 


[72] 


;i 


SURVIVAL  OF  THE  FITTEST 
A PANEL,  FOUNTAIN  OF  EARTH 


The  central  fountain  shows  the  globe  of 
Earth  revolving  in  the  Infinite.  Streams  of 
water  by  day,  clouds  of  luminous  steam  by 
night,  give  it  the  effect  of  swimming  out  of 
chaos.  The  powerful  panels  of  Earth  are 
boldly  modeled  in  pierced  relief,  giving 
statuesque  realism  as  well  as  the  pictur- 
esqueness demanded  of  a panel.  They 
follow  in  a natural  sequence  as  regards  their 
deep  and  arresting  symbolism.  The  order 
is,  first,  the  Southern,  then  the  Western, 
Northern  and  Eastern  panels  as  the  fountain 
lies.  The  panel  here  illustrated  is  third  in 
the  sequence.  In  the  first  panel  are  shown 
the  motive  Elemental  Emotions — Vanity, 
Sexual  Love  and  mere  Physical  Parenthood 
without  enlightenment.  After  the  next 
milestone  is  the  second  panel  called  “Natural 
Selection.”  This  presents  the  approach  of 
the  Strong  Man;  little  wings  beside  his  head 
indicate  the  dawn  of  Intellect.  Women  turn 
to  him  attracted  by  his  qualities.  Of  the 
men  whom  they  have  deserted,  one  resigns 
in  sorrow;  the  other  prepares  to  contend  the 
the  issue.  In  the  next  phase,  here  illus- 
trated, “The  Survival  of  the  Fittest,”  the 
struggle  has  begun.  The  following 
pages  resume  the  story. 


[74] 


LESSON  OF  LIFE 

A PANEL,  FOUNTAIN  OF  EARTH 


In  the  panel  of  “The  Survival  of  the  Fittest” 
the  battle  of  life  is  at  its  height.  The  men 
are  in  a furious  struggle  of  strength  and 
prowess.  The  interplay  of  human  passions, 
the  contests  of  wills  and  capacities,  has 
developed.  The  women,  too,  are  taking  a 
conscious  part  in  life,  one  weeping  and 
shrinking  from  the  fray,  the  other  extending 
a restraining  hand.  In  the  last  and  noblest 
panel,  called  “The  Lesson  of  Life,”  we  see 
the  spiritualized  and  intellect-guided  emo- 
tions. A helmeted  man  and  pure-browed 
woman  gaze  tenderly  in  each  other’s  eyes. 
Youth,  full  of  impulse  and  fire,  stays  to 
listen  to  the  voice  of  Reason.  The  lover 
keeps  in  touch  with  the  guiding  memory  of 
the  Mother.  And  the  cycle  is  completed 
from  animal  to  mental  toward  the  higher 
foundation  of  life  upon  the  earth.  Seldom 
has  more  exaltation  of  thought  or  intensity 
of  feeling  been  infused,  without  mawkishness 
or  exaggeration,  into  a work  of  art.  The 
Fountain  of  Earth,  is  deeply  interpretive  of 
the  trend  of  modern 
thought. 


[76] 


HELIOS 

SEPARATE  GROUP, FOUNTAIN  OF  EARTH 


On  the  wall  of  the  basin  of  the  Fountain  of 
Earth,  is  a subsidiary  group  called  “Helios, 
the  Sun.”  It  is  a decorative  point  of  finish 
and  is  also  symbolic.  The  Sun  is  taken  as 
the  symbol  of  the  Cosmos,  the  enduring,  the 
Day,  the  source  of  life.  Man  is  pictured  as 
clinging  to  it,  in  the  hope  of  being  freed 
from  the  encircling  coils  of  his  baser  self  and 
the  old  earthy  entanglements  that  hold  him 
down,  and  destroy  him.  This  group  and 
the  main  fountain,  as  well  as  the  sides  of  the 
beautiful  court,  are  mirrored  in  the  long 
still  pool  in  which  the  fountain  stands — a 
pool  properly  free  from  splashes  or  springs 
as  befits  the  setting  of  this  intricate  and 
massive  work.  The  rapid  and  stable  growth 
of  Robert  I.  Aitken,  sculptor  of  the  Fountain 
of  Earth,  is  of  particular  interest  to  San 
Francisco,  the  city  of  his  birth,  and  the 
site  of  several  of  his 
earlier  efforts. 


[78] 


WATER  SPRITES 

BASE  OF  COLUMN,  COURT  OF  AGES 


The  “Water  Sprite  Columns”  in  the  Court 
of  Ages  bring  the  somber  symbolism  of  this 
court  back  to  the  gay  spirit  of  festival.  The 
sprites  are  the  work  of  Leo  Lentelli;  they 
have  a quaint  elfin  quality  that  is  very 
engaging.  The  amusing  and  lovely  group 
seated  about  the  base  of  the  column  have 
a certain  chic  habit  of  pointing  elbows, 
wrists  and  ankles  that  lends  an  unworldly 
attraction.  Their  sister  sprite  at  the  top 
of  the  slender  decorated  shaft  is  mischiev- 
ously aiming  an  arrow  downwards.  These 
Sprite  Columns  express  the  gay,  frolicsome 
mood  of  the  waters.  Their  feeling  harmon- 
izes more  with  the  sea-weed  and  shell 
decorations  of  the  court  itself  and  its  falling- 
water  motif  than  with  the  weightier  sculp- 
ture it  contains.  They  create  a pleasing 
ripple  of  merriment.  Their  light  and  airy 
modeling  has  the  beauty  of  unconscious  and 
unforced  artistry.  The  columns  stand  just 
within  the  northern  entrance  of  the  court, 
guarding  a vista  of 
the  bay. 


[80] 


s** 


A DAUGHTER  OF  THE  SEA 
NORTH  AISLE,  COURT  OF  AGES 


In  this  “Daughter  of  the  Sea,”  Sherry  E. 
Fry  has  given  us  a nvmph  who  typifies  the 
life  within  the  watery  sphere  where  it  is 
deep  and  broad.  She  has  the  robustness, 
volume  and  vigor  of  the  great  high  seas. 
She  is  deep-bosomed  and  broad  of  thigh 
and  stands  as  though  storms  and  monsters 
had  no  terrors,  as  one  accustomed  to  breast 
and  conquer  the  waves.  Water  creatures 
supplement  her,  but  she  seems  made  on  too 
goddess-like  a scale  to  disport  herself  with 
them.  It  is  interesting  to  contrast  this 
nymph  of  the  fathomless  trough  of  the  sea 
with  the  arch  and  playful  Water  Sprites  of 
the  froth  and  ripple,  on  the  columns  within 
the  Court  of  Ages.  This  statue  is  placed 
in  the  Forecourt  of  Ages,  facing  the  Marina, 
the  court  that  is  designed  to  graduate 
the  richness  of  the  larger  court  toward 
the  more  severe  facades  on  the  Marina. 

Sherry  E.  Fry’s  work,  in  a less  rugged 
vein,  appears  upon  Festival  Hall. 


[82] 


THE  FAIRY 

FINIAL  FIGURE,  ITALIAN  TOWERS 


The  gay  and  gracefully  ethereal  towers  on 
corner  pavilions  at  the  entrance  to  the 
Court  of  Palms  and  the  Court  of  Flowers, 
sometimes  called  The  Kelham  Towers  for 
their  architect,  are  pointed  by  a long  and 
pleasing  slope  of  wings.  Carl  Gruppe’s 
slender  Fairy  stands  upon  them,  poised,  as 
though  just  alighted.  This  finial  figure  has 
a pretty  wistfulness  that  suggests  the  whim- 
sical firefly  fairies  of  Peter  Pan  more  than 
the  conventional  gauzy  creatures  of  ordinary 
fairy  tale,  and  is  more  like  a female  counter- 
part of  Shakespeare’s  “delicate  Ariel”  who 
sucks  “where  the  bee  sucks”  than  any  other 
creature  of  fancy.  The  curving  antennae 
increase  this  impression.  She  carries  in  her 
hand  a whirling  star.  The  silhouette  of  the 
figure  is  attractive  and  the  halo  of  sky 
behind  the  head  framed  within  the  circle  of 
the  wings,  lends  a distinct  charm.  It  is 
pleasant  to  have  this  symbol  of  imagination 
over  the  Exhibit  palaces,  especially  in  the 
Courts  of  Palms  and  Flowers,  more  suited 
to  the  fairy  feeling  than,  perhaps,  any 
other  spot  upon  the  grounds. 


[84] 


FLOWER  GIRL 

NICHE,  COURT  OF  FLOWERS 


The  perfect  balance  of  this  “Flower  Girl” 
by  A.  Stirling  Calder,  saved  from  any  hint 
of  rigidity  by  the  graceful  curves  of  its 
extended  lines,  makes  it  an  admirable  wall 
decoration.  Harmony  with  the  wall-niche 
in  which  it  appears  is  part  of  its  allurement. 
The  sculptor  has  modestly  sought  to  merge 
the  figure’s  loveliness  into  that  of  the  Court 
and  has  succeeded  in  increasing  both.  “The 
Flower  Girl”  appears  in  outer  niches  of  the 
attic  cloister  of  the  court  bearing  her  name, 
the  Court  of  Flowers.  A light  garlanded 
mantle  falls  like  a petal  from  her  shoulders, 
the  floating  edge  following  the  line  of  the 
nymph’s  divided  hair,  so  that  the  maiden 
seems  more  like  a flower  itself  than  a flower- 
bearer.  However,  she  has  the  sculptural 
solidity  necessary  for  her  location  and  resem- 
bles not  some  frail,  wind-blown  blossom,  but 
the  robust  and  buxom  California  blooms 
that  flourish  in  the  court 
below  her. 


[86] 


BEAUTY  AND  THE  BEAST 
FOUNTAIN  DETAIL,  COURT  OF  FLOWERS 


The  Fountain  of  Beauty  and  the  Beast  in 
the  Court  of  Flowers  accentuates  the  feeling 
of  gentle  fancy  and  the  spirit  of  the  fairy- 
tale that  are  the  mood  of  this  and  its  com- 
panion court.  It  is  by  Edgar  Walter,  a 
distinguished  San  Franciscan;  he  has  given 
us  a delightful,  playful  and  tender  rendition 
of  the  old  tale  that  has  held  the  imagination 
of  the  world  since  it  first  appeared  in 
Straparola’s  “Piacevoli  Notti”  in  1550. 
Since  it  was  popularized  by  Madame  le 
Prince  de  Beaumont  in  1757,  the  story  has 
been  translated  into  every  language.  The 
fountain  shows,  with  great  restraint  and 
refinement  of  handling,  one  of  Beauty’s 
ministrations  to  the  sick  monster  shortly 
before  his  transformation.  It  is  subject  to 
the  symbolism  that  may  be  read  into  the 
story  itself;  but  the  note  of  fairy  magic  is 
the  essential  theme  of  the  fountain.  Quaint 
fairy  pipers,  the  unseen  musicians  of  the 
Monster’s  Palace,  stand  about  the  pedestal. 
The  lower  basin  bears  a frieze  of  charmed 
or  enchanted  beasts,  very  lightly  handled 
and  not  insistent.  Their  idea  is  continued 
in  the  court  by  the  gryphon  decorations  and 
Albert  Laessle’s  wreath-bearing  Friendly 
Lions,  at  the  entrances  to 
the  palaces. 


[88] 


CARYATID 
COURT  OF  PALMS 


The  Court  of  Palms  is  restful,  meditative,  a 
place  where  the  feeling  of  magical  allure 
takes  a deeper,  more  subjective  character. 
It  might  well  be  called  the  Court  of  Pools, 
for  two,  quiet  pools,  one  circular,  one  oblong 
except  for  its  concave  side  to  hold  the  other, 
fill  the  floor  of  its  sunken  garden  and  reflect 
its  pensive  as  well  as  its  physical  charms. 
The  Caryatides  repeated  throughout  this 
court  are  the  joint  work  of  John  Bateman 
and  A.  Stirling  Calder.  They  inject  into  the 
court  its  fairy  spirit  without  disturbing  its 
repose.  They  are  Puckish,  bat-winged, 
goblin-horned  fairy  creatures  of  an  eerie 
beauty,  elfin,  roguish  and  quaint.  Their 
quality  is  enhanced  by  the  beautiful  color 
that  has  been  applied  to  them,  to  the  gar- 
landed panels  between  them,  to  the  car- 
touches  over  the  archways  and,  indeed,  to 
all  the  decorations  on  the  walls  and  columns 
of  this  court.  This  richness  and  depth  of 
color  leads  the  eye  to  the  three  splendid 
mural  lunettes  in  the  arches.  These  are 
Childe  Hassam’s  “Fruit  and  Flowers”  and 
Charles  Holloway’s  “Pursuit  of  Pleasure,” 
at  the  entrances  to  the  palaces,  and  Arthur 
Mathews’  “Victory  of  Culture  Over  Force” 
in  the  portal  that  leads  to  the  Court  of  the 
Four  Seasons  and  frames  a 
vista  of  the  bay. 


[90] 


mm 


THE  HARVEST 

COURT  OF  THE  FOUR  SEASONS 


The  Court  of  the  Four  Seasons,  classic  in 
spirit,  finished  and  chaste  in  execution, 
required  a perfect  harmony  of  mass,  line 
and  feeling  in  the  sculpture  that  was  to 
embellish  it.  It  was  the  further  task  of  the 
sculptors  and  mural  painters  to  give  the 
court  its  meaning,  to  illustrate  the  idea  of 
the  earth’s  abundance  and  the  fruitful  benefi- 
cence of  the  seasons  that  is  implied  in  the 
title  of  the  court.  That  they  have  nobly 
succeeded  in  this  difficult  double  achieve- 
ment is  an  actual  triumph.  “The  Harvest,” 
by  Albert  Jaegers,  crowning  the  half-dome, 
is  a magnificent  bit  of  architectural  sculpture. 
It  seems  a faithful  part  of  the  surface  it 
enriches;  its  outlines  are  faultlessly  balanced ; 
although  its  sides  are  varied,  its  mass  is 
superbly  centered.  The  Goddess  of  the 
Plentiful  Harvest  sits  in  the  slope  of  an 
overflowing  cornucopia;  a sheaf  of  ripe 
wheat  rests  in  her  supporting  arm;  she  is 
attended  by  a lad  who  can  scarcely  lift  the 
weight  of  fruit  he  bears.  The  group  is 
bound  more  closely  to  the  half-dome  by  a 
graceful  garland  applied  to  the  w’all-surface. 
Mr.  Jaegers  has  further  illustrated  the 
traditional  idea  of  Harvest  Home  festivals 
by  the  vigorous  groups,  “The  Feast  of 
Sacrifice,”  which  adorn  the  huge 
pylons  of  this  court. 


[92] 


RAIN 

COURT  OF  THE  FOUR  SEASONS 


On  separate  columns  flanking  the  Half-Dome 
of  the  Harvest,  Albert  Jaegers  has  given  us 
classic^,  presentations  of  the  two  great 
resources  of  nature  that  bring  the  blessing 
of  rich  harvest.  These  are  symbolic  figures, 
“Rain,”  here  pictured,  and  “Sunshine.”  In 
“Rain,”  the  nymph  of  the  Earth,  holds 
upward  a shell,  her  cup,  in  grateful  expec- 
tation of  the  beneficent  rainfall,  while  she 
shields  her  head  from  the  storm  with  a 
cloud-like  mantle.  On  the  other  column, 
that  of  “Sunshine,”  the  nymph  shades  her 
head  with  an  arching  palm-branch,  though 
she  looks  up  in  happy  appreciation  to  the 
welcome  glow  of  the  sun.  As  in  his  “Har- 
vest” and  “The  Feast  of  Sacrifice,”  Mr. 
Jaegers  has  here  given  with  perfect  restraint 
a sense  of  generous  weight,  of  richness, 
profusion  and  mass  that  are  highly  satisfy- 
ing in  their  artistic  aspect  and  are  valuable 
interpreters  of  the  message  of  the  Court. 
August  Jaegers,  a younger  brother  of  this 
sculptor,  has  embellished  the  arcade  of  this 
court  with  an  attractive  repeated  attic 
figure.  In  voluminous,  decorative  draperies 
this  female  figure  stands  between  two  young 
orange  trees,  her  arms  about  them — sig- 
nificant of  the  harvest  of  California. 


[94] 


FOUNTAIN  OF  SPRING 
COURT  OF  THE  FOUR  SEASONS 


The  seasons  of  the  year  are  expressed  in  the 
Court  that  honors  them  by  four  wall- 
fountains,  the  work  of  Furio  Piccirilli.  The 
sculptured  groups  are  set  in  colonnaded 
niches,  against  a warm  background  of  deep 
pastel  pink  wall.  The  water  flows  over  a 
cascade  stairway.  The  floors  of  this  and  of 
the  basin  are  painted  pale  Oriental  green, 
giving  a luminous  beauty  to  the  water, 
especially  at  night  in  the  glow  of  hidden 
lighting.  The  planting  about  the  niches 
and  the  trailing  green  on  the  walls  are 
component  parts  of  the  fountains’  beauty. 
The  sculptor  has  felt  the  Seasons  in  their 
gradual  changes,  as  found  in  California, 
rather  than  in  the  usual  sharp  divisions. 
He  has  infused  them  with  a wistful  sadness, 
however,  as  at  the  passing  of  time.  In 
“Spring,”  here  illustrated,  for  example,  we 
feel  something  more  than  the  Youth,  Flow- 
ers, Love  and  Promise  obvious  in  the 
composition — something  tender  and 
romantic  but  by  no  means  gay. 


[96] 


FOUNTAIN  OF  WINTER 
COURT  OF  THE  FOUR  SEASONS 


Fountains  of  Summer,  Autumn  and  Winter, 
by  the  same  sculptor  as  Spring,  just  de- 
scribed, are  similarly  installed  in  their 
respective  niches  in  the  Court  of  Four 
Seasons.  In  “Summer”  is  represented  the 
earth’s  early  fruition.  A young  mother  lifts 
her  new-born  babe  for  its  father’s  kiss.  A 
gleaner  harvests  the  grain.  Over  all  is  a 
gentle  solemnity.  In  “Autumn,”  probably 
the  most  admired  of  the  four,  against  the 
background  of  a fruit-bearing  tree,  a superb 
nymph  bears  proudly  the  full  jar  of  wine  or 
oil.  On  one  side  a crouched  figure  gathers 
a richly-laden  garland  of  the  vine;  on  the 
other,  a youthful,  kneeling  female  figure 
plays  with  a lusty  child.  Even  this  period 
of  completion  is  marked  by  the  general 
pensive  beauty.  It  is  emphasized  most, 
however,  in  “Winter,”  here  illustrated. 
The  bowed,  worn  toiler  rests  on  his  shovel, 
the  spirit  of  the  year  waits,  still  and  brood- 
ing. But,  on  the  other  hand,  the  sower 
is  ready  to  cast  the  new  seeds; 
the  cycle  re-commences. 


[98] 


FOUNTAIN  OF  CERES 
FORECOURT  OF  THE  FOUR  SEASONS 


The  Forecourt  of  the  Seasons,  the  continu- 
ation of  the  Court  of  the  Four  Seasons  to 
the  Marina,  is  officially  called  the  Forecourt 
of  Ceres,  because  of  Evelyn  Beatrice  Long- 
man’s Fountain  of  Ceres  which  commands 
it.  Ceres,  or  Demeter,  the  goddess  of 
Agriculture,  presided  over  the  Earth’s 
abundance.  By  her  favor,  came  the  good 
harvest;  she  it  was  who  first  instructed  man 
in  the  use  of  the  plough.  In  the  loveliest  of 
antique  myths  she  is  the  mother  of  Pros- 
perine,  the  Spring.  Miss  Longman  has 
expressed  her  as  exultant,  regal,  young — far 
less  matronly  than  as  conventionally  pic- 
tured— glorying  in  her  power  to  bless  the 
co-operative  labors  of  man  and  nature.  She 
holds  as  her  sceptre  the  stalk  of  corn,  and 
offers  the  crown  of  summer  to  the  world. 
The  central  figure  is  not  more  lovely  than 
the  pedestal  base  on  which  she  stands.  A 
frieze  of  dancing  maidens,  wrought  in  clean- 
cut  low  relief,  Greek  in  manner,  celebrate 
the  Harvest  feast.  In  the  accompanying 
illustration,  the  groups  on  pylons,  by  Albert 
Jaegers,  already  described,  may  be 
seen  in  the  background. 


[100] 


THE  GENIUS  OF  CREATION 
CENTRALGROUP,  AVENUE  OF  PROGRESS 


“The  Genius  of  Creation,”  by  Daniel  Chester 
French,  has  the  superb  simplicity  of  all 
works  of  that  master  of  sculptural  calm, 
intellectual  power  and  straightforward  sin- 
cerity. Mr.  French  is  said  to  make  no 
mistakes  in  composition;  his  precision  is  not 
dryness  but  technical  ease  and  infallibility; 
his  classical  quality  is  not  obedience  to 
tradition  but  insight  into  the  underlying 
laws  that  made  tradition.  Here  we  have  a 
splendid  example  of  his  perfection  of  mass, 
balance  and  finish  and  of  quiet,  inspiring 
depth  and  directness  of  feeling.  Creation 
extends  life-giving  arms  over  the  universe. 
Serene,  brooding,  blessing,  the  noble  face 
emerges  from  mysterious  shadows  of  the 
enveloping  mantle.  The  sculptural  quality 
of  the  draperies,  their  weight  and  texture 
and  grace  are  notable.  At  the  foot  of  the 
pedestal  rock,  man  and  woman  stand — 
facing  different  sides,  but  their  hands  are 
clasped  at  the  back  of  the  group.  The 
Serpent  surrounds  all,  inevitably  suggestive 
of  the  story  of  Genesis,  but  symbolic  of  the 
waters  from  which  life  emerged  and  the 
encircling  oneness  of  the  universe. 


[102] 


THE  GENIUS  OF  MECHANICS 
COLUMN  FRIEZES,  MACHINERY  HALL 


All  of  the  sculpture  about  the  Palace  of 
Machinery  partakes  appropriately  of  the 
size  and  strength  of  that  huge  building 
which  houses  the  world’s  progress  in  mechan- 
ical arts.  The  sculpture,  like  the  building, 
is  Roman  rather  than  Greek  in  type  and 
modern  American  in  vigor  and  expression, 
as  are  the  chief  contents  of  the  Palace. 
The  sculptor,  Haig  Patigian  of  San  Fran- 
cisco, has  expressed  this  combination  with 
power  and  virility.  The  frieze  here  illus- 
trated appears  at  the  base  of  massive 
columns,  interestingly  made  of  simulated 
Sienna  marble,  the  warm  tones  truly  repro- 
duced. The  frieze  is  extremely  energetic, 
although  well  restrained,  and  supports  the 
great  column  as  a basic  frieze  should  do, 
especially  when  its  1 


holding  a pulley,  one  upholding  the  column 
upon  his  hands,  alternate  with  two  Disci- 
ples, for  whom  their  extended  wings  create 
a background.  One  of  these  is  comple- 
mented by  hammer  and  anvil,  the  other  by 
furnace  and  tongs.  Both  share  the  column’s 
weight  on  powerful  arms.  The  imaginary 
figures  show  potential  strength  in  repose, 
the  human  figures  potent  strength  in  action. 

The  frieze  in  low  relief  is  colorful 


to  the  purpose. 


and  decorative. 


[104] 


THE  POWERS 

COLUMN  FINIALS,  MACHINERY  HALL 


High  upon  the  mighty  columns  that  sur- 
round, relieve  and  give  color  to  the  immense 
facades  of  Machinery  Palace,  are  Haig 
Patigian’s  masculine  and  trenchant  figures 
“The  Four  Powers.”  These  are  of  heroic 
height,  and  create  an  impression  of  super- 
human size  and  strength  even  when  raised 
so  far  above  the  ground.  They  have  a 
simple  robustness  that  accords  well  with 
their  theme.  Two  of  the  Powers  are 
abstract,  the  driving  powers  of  thought; 
these  are  Invention  and  Imagination.  Two 
are  concrete,  representing  the  mightiest 
powers  of  modern  mechanics,  Steam  Powrer 
and  Electric  Power.  Steam  Power  is  forcing 
the  driving  arm  of  an  engine;  Electric 
Power,  the  w7orld  at  his  feet,  handles  the 
lightnings.  He  wrears  the  winged  cap  of 
Mercury,  messenger  of  the  gods,  for  elec- 
tricity is  the  messenger  of  modern  days. 
Invention,  crowned  w ith  the  bays  of  achieve- 
ment, holds  in  his  hand  a bird-man  about 
to  leave  the  earth;  Imagination,  accom- 
panied by  the  eagle  making  ready  to 
soar,  dreams  with  closed  eyes. 


[106] 


PIRATE  DECK-HAND 
NICHES,  NORTH  FACADE  OF  PALACES 


The  northern  facades  of  all  the  palaces  along 
the  Marina  are  beautifully  embellished  above 
the  vestibules  with  an  intricate  plateresque 
decoration,  modeled  after  portals  in  Old 
Spain.  In  the  three  ornate  statue-niches — 
in  the  original  probably  devoted  to  saintly 
images — are  romantic  figures  by  Allen 
Newman.  It  is  appropriate  that  these 
figures  facing  the  water-front  should  repre- 
sent, as  they  do,  the  Conquistador  and  the 
Pirate  Deck-hand,  who  once  were  masters 
and  terrors  of  the  main.  The  Conquistador 
stands  in  the  central  canopied  niche,  the 
strong  line  from  his  helmet-point  down  his 
sword-hilt  making  a grimly  decorative  axis 
for  the  whole.  The  Deck-hand  is  repeated 
in  the  niches  on  each  side.  This  ruthless 
minion  of  sea  adventurers  is  here  pictured 
beyond  the  urchin’s  dreams.  The  line  of 
the  rope  he  carries  is  a touch  of  excellently 
handled  decoration.  Both  these  figures  are 
so  well  harmonized  architecturally  and  sculp- 
turally to  their  pedestals  and  location  that 
the  entire  facade  should  be  seen  for 
their  proper  appreciation. 


[108] 


FROM  GENERATION  TO  GENERATION 
PALACE  OF  VARIED  INDUSTRIES 


In  the  portals  on  the  south  side  of  the  group 
of  palaces,  facing  the  Avenue  of  Palms,  we 
have  again  the  beauteous  old  Spanish  door- 
ways in  plateresque  design,  with  niches 
filled  with  modern  sculpture.  The  portal  of 
the  Palace  of  Varied  Industries,  copied  from 
a famous  prototype  in  the  old  hospice  of 
Santa  Cruz,  in  Toledo,  Spain,  was  assigned 
to  Ralph  Stackpole.  He  is  a sculptor  who 
delights  to  honor  the  laborer  and  the  crafts- 
man and  has  supplied  the  figures  for  niches 
and  keystone  space  and  the  tympanum  and 
secondary  groups  in  the  portal  of  Varied 
Industries  with  evident  affection.  He  treats 
the  subject  of  labor  with  dignity,  according 
it  respect  and  not  sentimentality.  In  this 
secondary  or  crowning  group,  a strong 
young  man  is  taking  the  burden  of  labor 
from  the  shoulders  of  the  last  generation — 
an  old  workman,  bowed  but  still  hale  and 
vigorous.  There  is  a sense  of  responsibility 
and  earnestness  in  the  group,  but  complete 
confidence  and  power.  It  might  well  have 
been  feared  that  these  rugged  types  of 
American  life  might  ill  accord  with  the 
ancient  ornate  doorway.  But  the  deco- 
rative proprieties  have  been 
thoroughly  sustained. 


[110] 


THE  MAN  WITH  THE  PICK 
PALACE  OF  VARIED  INDUSTRIES 


In  the  repeated  niches  following  the  line  of 
the  archway  in  the  portal  of  Varied  Indus- 
tries, described  in  the  foregoing  page,  appears 
Ralph  Stackpole’s  “Man  With  the  Pick,”  a 
manly  tribute  to  the  intelligent,  self- 
respecting  workman  who  is  the  basis  of  our 
national  life.  There  is  a frank  and  unaf- 
fected realism  in  the  work  that  attracts  by 
its  uncapitulating  sincerity.  Its  impression 
of  rugged  power  and  self-respect  saves  it 
from  becoming  merely  photographic,  and  its 
plastic  feeling  is  excellent.  In  this  and  the 
preceding  group,  as  also  in  the  keystone 
figure  and  the  tympanum,  the  courageous 
employment  of  the  actual  commonplace 
garments  of  everyday  labor  instead  of  ideal- 
ized draperies  has  met  success.  The  tym- 
panum group  is  called  “Varied  Industries.” 
It  appreciates  the  various  daily  labors  of 
mankind  through  which  civilization  con- 
tinues and  is  almost  devotional  in  its 
expression — “in  the  handicraft  of  their 
work  is  their  prayer,” 


[112] 


THE  USEFUL  ARTS 
FRIEZE  OVER  SOUTH  PORTALS 


Another  artist  who  appreciates  the  spirit 
and  enterprise  of  our  own  day  and  finds 
inspiration  in  its  humble  labors  is  Mahonri 
Young.  This  feeling  appears  in  much  of 
his  work  and  is  notable  in  the  panel  of 
“Useful  Arts,”  as  also  in  the  niche  figures 
that  flank  it  and  are  really  part  of  the 
conception.  These  appear  over  the  hand- 
some portal  arch  of  the  Liberal  Arts  Palace. 
The  beautiful  grouping  of  the  many  figures 
in  the  panel  is  a delight;  the  planes  of  per- 
spective are  skilfully  handled,  without  in 
the  least  marring  the  flat  surface  requisite 
in  a mural  panel.  This  panel  of  “Useful 
Arts”  does  honor  to  skilled  labor.  Men  and 
women  are  shown  busy  with  the  spinning- 
wheel,  the  anvil,  the  forge  and  other 
implements  of  skilled  craft.  Satisfying 
figures  in  the  niches,  the  Woman  with  the 
Distaff  and  the  Man  with  the  Sledge- 
Hammer,  continue  the  same  idea.  Mr. 
Young’s  place  in  art  is  unique  in  that  he 
has  won  distinguished  consideration  in  three 
branches — painting,  etching  and  sculpture. 
In  the  Palace  of  Fine  Arts  he  exhibits  twelve 
etchings  and  nine  works  of  sculpture,  several 
of  each  devoted  to  the  phases  of  life 
expressed  in  this  panel. 


[114] 


TRIUMPH  OF  THE  FIELD 
NICHES  WEST  FACADE  OF  PALACES 


In  the  western  facade  of  the  Palaces  of  Food 
Products  and  Education  are  examples  of  the 
new  tendency  in  sculpture.  These  are 
“The  Triumph  of  the  Field”  and  “Abun- 
dance” by  Charles  R.  Harley,  the  modernist. 
He  has  made  them  intricate  and  teeming 
with  imagery,  giving  the  beholder  much  food 
for  study  and  personal  interpretation.  These 
works  have  been  useful  in  arousing  much 
artistic  discussion.  They  endeavor  to  ex- 
press a mood  of  richness,  fullness  and  success 
and  have  the  effect  of  laden  chariots  in  a 
triumphant  pageant.  In  “The  Triumph  of 
the  Field,”  Man  sits  upon  the  skeleton  head 
of  a steer,  surrounded  by  a multitude  of 
symbols  indicative  of  festivals  of  agricul- 
tural success  in  the  past.  Some  are  pagan, 
some  Christian.  Above  his  head  is  the 
wheel  of  an  antique  wagon;  he  holds  crude 
farm  implements  of  long-past  days.  In 
“Abundance,”  the  companion  piece,  Nature, 
a female  figure,  sits  in  the  prow  of  a ship, 
surrounded  by  the  abundance  of  land  and 
sea.  Her  hands  are  extended;  one,  in  order 
to  receive  greatly;  the  other,  that 
she  may  greatly  give. 


[116] 


WORSHIP 

ALTAR  OF  FINE  ARTS  ROTUNDA 


This  lovely,  adoring  figure,  pure,  devoted, 
appealing,  emblematic  of  Art  Tending  the 
Fires  of  Inspiration,  is  placed  upon  the 
Altar  before  the  Palace  of  Fine  Arts  and 
can  be  seen  only  from  across  the  waters  of 
the  lagoon.  Her  perfect  self-surrender  to 
her  holy  task  of  guarding  inspiration’s  flame 
is  a sermon  and  a poem.  She  is  the  worship- 
ful spirit  for  whose  reward  the  glow  of  genius 
is  sent.  She  is  an  image  of  the  perfect 
reverence  for  an  ideal.  It  is  interesting  to 
note  that  she  is  by  the  same  hand  that 
fashioned  those  rugged  laborers  on  the 
portals  of  the  Palace  of  Varied  Industries, 
that  of  Ralph  Stackpole.  The  altar  of  Fine 
Arts,  separated  from  the  beholder  by  the 
whole  width  of  the  beautiful  lagoon,  set 
before  the  great  rotunda  and  surrounded  by 
sculptured  barriers  and  growing  green  but- 
tress walls  of  flowers  that  quite  shut  it  off 
from  all  access  of  the  passerby,  has  the  effect 
of  a shrine.  This  sense  of  seclusion  adds 
much  to  the  impressiveness  of 
the  statue. 


[118] 


THE  STRUGGLE  FOR  THE  BEAUTIFUL 
FRIEZE,  FINE  ARTS  ROTUNDA 


A surpassingly  beautiful  contribution  to  the 
Exposition  art  has  been  made  by  Bruno 
Louis  Zimm  in  his  panels  of  Greek  culture. 
These  lovely  panels  in  low  relief,  surely 
worthy  of  a permanent  medium,  are  set  in 
the  attic  of  the  Rotunda  or  Belvedere  before 
the  Palace  of  Fine  Arts,  used  and  known  as 
the  Temple  of  Sculpture.  The  panels  ex- 
press not  so  much  the  historical  Greek 
tradition — though  they  are,  indeed,  pro- 
duced in  the  purest  Greek  manner — as  they 
do  the  high  spirit  and  ideals  of  Greek  art, 
the  devoted  seeking  for  divine  fire,  the 
determined  opposition  to  the  trivial  and  the 
base.  Each  of  the  panels  is  once  repeated. 
The  panel  of  “The  Triumph  of  AdoIIo” 
shows  the  fiery  god  of  Inspiration,  Music 
and  the  Sun  in  a procession  of  worshipers; 
his  flaming  wings  are  the  rays  of  the  sun. 
The  panel  of  “The  Unattainable  in  Art” 
might  well  be  called  “The  Struggle  for  the 
Beautiful.”  It  pictures  the  unending  strug- 
gle with  the  gross  and  stupid,  both  objec- 
tive and  subjective,  that  confronts  the 
champion  of  the  beautiful.  Art  stands 
serene,  aloof,  unassailable  in  the  center  of 
the  fray.  The  panel  of  “Pegasus”  shows  the 
winged  steed  of  the  poets  controlled  by  a 
true  aspirant,  attended  by  Music, 
Literature  and  Art. 


[120] 


GUARDIAN  OF  THE  ARTS 
ATTIC  OF  FINE  ARTS  ROTUNDA 


Two  stately  “Guardians  of  the  Arts,”  one 
male,  one  female,  of  godlike  proportions  and 
great  dignity,  are  placed  in  the  attic  of  the 
P ine  Arts  Rotunda,  separating  the  panels  of 
Greek  culture.  They  are  the  work  of  Ulric 
H.  Ellerhusen,  who  has  shown  a keen  per- 
ception of  the  structural  necessities  involved 
in  these  immense  details.  The  Rotunda  of 
Fine  Arts,  the  temple  of  Sculpture,  is  one 
of  the  most  interesting  architectural  features 
of  the  Exposition.  It  is  the  culminating 
beauty  of  the  marvelous  colonnade  of  Fine 
Arts  Palace,  its  chief  distinction.  Within 
are  some  of  the  treasures  of  the  exhibit 
sculpture.  Under  the  arching  dome  are 
Robert  Reid’s  mural  paintings  described  in 
a later  place.  The  Weeping  Figures  on  top 
of  the  colonnade  itself  are  also  by  Mr.  Eller- 
husen. They  express  the  humility  that 
ennobles  the  true  artistic  spirit  and  distin- 
guishes it  from  the  spurious.  Instead  of  the 
self-satisfied  Triumph  or  Victory  that 
might  be  expected  to  crown  this  last  of  the 
Exposition  palaces,  these  represent  the 
spirit  of  Art  weeping  at  the  impossibility 
of  achieving  her  dreams. 


[122] 


PRIESTESS  OF  CULTURE 
WITHIN  THE  FINE  ARTS  ROTUNDA 


High  on  the  decorative  columns  that  mark 
the  great  arches  within  the  beautiful  Ro- 
tunda of  Fine  Arts,  stand,  repeated,  the 
peaceful,  dignified  and  serene  “Priestess  of 
Culture,”  by  Herbert  Adams,  an  angelic 
figure,  modeled  with  the  control  and  calm 
that  fittingly  express  the  mission  of  culture 
upon  the  earth.  Indeed  the  work  of  Mr. 
Adams  may  be  said  generally  to  be  char- 
acterized by  that  probity  and  intellectual 
beauty  ministering  to  the  purposes  of  cul- 
ture. These  figures  are  harmonious  orna- 
ments to  the  richly  decorated  ceiling  which 
they  touch  and  to  which  they  give  a certain 
tranquillity.  The  slope  of  their  wings  con- 
nects gracefully  with  that  of  the  arches; 
this,  with  the  quiet  beauty  of  the  drapery 
and  its  accord  with  the  line  of  the  cornu- 
copia, creates  a restful  architectural  effect. 
It  is  a pleasant  coincidence  that  these 
Priestesses  of  Culture  look  down  upon  the 
statue  of  William  Cullen  Bryant  by  the 
same  sculptor,  an  exhibit  piece,  charmingly 
installed  at  the  entrance  to 
the  great  Rotunda. 


[124] 


FRIEZE 

FLOWER  BOXES,  FINE  ARTS  COLONNADE 


The  very  large  flower  boxes  bearing  masses 
of  luxuriant  California  shrubs  that  mark  the 
Peristyle  Walk  in  the  Fine  Arts  Colonnade 
are  constantly  admired  for  their  own  beauty, 
the  beauty  of  their  contents  and  their  part 
in  the  general  effectiveness  of  the  delightful 
Colonnade  they  enrich.  The  friezes  are  by 
Ulric  H.  Ellerhusen,  who  made  also  the 
Weeping  Figures  and  the  heroic  “Guardians 
of  Arts”  already  described.  It  is  interesting 
to  note  that  the  precision  of  handling  has 
given  this  design,  in  spite  of  its  size,  an 
exquisite  delicacy.  Standing  at  charmingly 
balanced  intervals,  a circle  of  maidens  bear 
a heavy  rope-garland.  This  rope  makes  a 
gratifying  line  that  has  given  pleasure  to 
connoisseurs.  The  frieze  is  so  successful 
largely  because,  though  frankly  decorative 
as  suits  its  purpose,  its  personality  and 
charm  distinguish  it  from  the  pattern-like 
or  conventional.  The  landscape  planting 
in  the  boxes,  in  the  flower  beds  ana  above, 
is  one  of  the  enduring  attractions  of  this 
colonnade  and  walk.  The  green  is  archi- 
tecturally massed  and  the  relief  of  flowers 
bright  and  delicate,  never 
intrusive. 


[126] 


J 


THE  PIONEER  MOTHER 
EXHIBIT,  FINE  ARTS  COLONNADE 


The  “Pioneer  Mother”  monument,  by 
Charles  Grafly,  is  a permanent  bronze,  a 
tribute  by  the  people  of  the  West  to  the 
women  who  laid  the  foundation  of  their 
welfare.  It  is  to  stand  in  the  San  Francisco 
Civic  Center,  where  its  masterful  simplicity 
will  be  more  impressive  than  in  this  colorful 
colonnade.  It  is  a true  addition  to  note- 
worthy American  works  of  art  and  fully 
expresses  the  spirit  of  this  courageous 
motherhood,  tender  but  strong,  adventurous 
but  womanly,  enduring  but  not  humble.  It 
has  escaped  every  pitfall  of  mawkishness, 
stubbornly  refused  to  descend  to  mere  pret- 
tiness, and  lived  up  to  the  noblest  possi- 
bilities of  its  theme.  The  strong  guiding 
hands,  the  firmly  set  feet,  the  clear,  broad 
brow  of  the  Mother  and  the  uncompro- 
misingly simple,  sculpturally  pure  lines  of 
figure  and  garments  are  honest  and  com- 
manding in  beauty.  The  children,  too,  are 
modeled  with  affectionate  sincerity  and  are 
a realistic  interpretation  of  childish  charm. 
Oxen  skulls,  pine  cones,  leaves  and  cacti 
decorate  the  base;  the  panels  show  the  old 
sailing  vessel,  the  Golden  Gate  and  the 
trans-continental  trails.  The  inscription  by 
Benjamin  Ide  Wheeler  perfectly  expresses 
what  the  sculptor  has 
portrayed. 


[128] 


LAFAYETTE 

EXHIBIT,  FINE  ARTS  ROTUNDA 


Paul  Wayland  Bartlett’s  “Lafayette,”  of 
which  this  is  a plaster  copy,  should  be 
known  and  honored  by  every  loyal  Amer- 
ican. It  is  considered  by  many  the  most 
successful  equestrian  statue  of  modern  times 
and  it  was  the  gift  of  the  school  children  of 
America  to  the  Republic  of  France.  The 
original  bronze  stands  in  the  Court  of  the 
Louvre,  the  most  coveted  location  in  Paris. 
The  position  of  honor  among  the  sculpture 
exhibits  accorded  to  this  copy,  as  the  central 
piece  in  the  Temple  of  Sculpture,  gives  the 
impressive  beauty  of  the  “Lafayette”  the 
distinction  it  deserves.  Seen  at  a little 
distance,  with  the  background  of  the  lagoon, 
the  superb  bearing  of  both  horse  and  rider 
get  their  full  effect.  This  interpretation  of 
Lafayette,  commanding,  heroic,  graceful, 
unselfconscious,  his  Gallic  dash  and  fire 
evident  but  restrained  by  military  and  aris- 
tocratic control,  is  stirring  and  convincing. 
The  upheld  sword  is  a touch  of  fine  artistry. 
Mr.  Bartlett  was  Chairman  for  Sculpture  of 
the  Exposition  Jury  of  Fine  Arts.  He  has 
just  completed  the  pedestal  heads  for  the 
House  wing  of  the  Capitol  at  Washington. 
His  “Dying  Lion,”  exhibited  in  plaster  copy 
in  the  Fine  Arts  garden,  has  been  coupled 
by  critics  with  the  “Wounded 
Lion”  of  Rodin. 


[130] 


THOMAS  JEFFERSON 
EXHIBIT,  FINE  ARTS  ROTUNDA 

All  the  work  of  the  late  Karl  Bitter  bears  a 
peculiar  appeal  at  this  time,  since  he  was 
Chief  of  Sculpture  of  the  Exposition,  was  so 
close  personally  to  many  of  the  men  who 
made  its  beauty,  was  so  valuable  an  influ- 
ence to  the  art  of  our  nation  and  left  so 
ennobling  a memory  as  man  and  as  artist. 
His  sustained,  faithful  and  enduring  works 
are  well  represented  in  the  exhibit  galleries 
by  his  “Signing  of  the  Louisiana  Purchase 
Treaty,”  made  for  the  St.  Louis  Exposition 
and  loaned  by  that  city;  his  Tappan  Memo- 
rial from  the  University  of  Michigan;  his 
Rockefeller  Fountain,  and  the  appealing 
“Faded  Flowers.”  A medal  of  honor  was 
awarded  to  him.  Thomas  Jefferson  was 
always  a sympathetic  study  to  Karl  Bitter, 
who  has  interpreted  that  statesman,  scholar 
and  patriot  in  his  several  capacities.  The 
original  of  the  present  statue  was  made  for 
the  University  of  Virginia;  Jefferson  said  he 
preferred  to  be  remembered  as  founder  of 
that  institution  rather  than  as  President  of 
the  United  States.  He  is  here  represented 
in  a moment  of  meditative 
leisure. 


[132] 


LINCOLN 

EXHIBIT,  SOUTH  APPROACH 


Two  noble  Lincolns  by  the  great  Augustus 
Saint-Gaudens  do  honor  to  the  city  of 
Chicago  and  are  distinguished  by  the  titles 
“The  Standing  Lincoln”  and  “The  Seated 
Lincoln.”  Both  have  the  homely  beauty, 
greatness  and  dignity  of  character  that  are 
essential  to  the  presentment  of  this  national 
inspiration.  “The  Seated  Lincoln”  here 
shown  is  the  original  bronze,  not  a replica. 
It  was  loaned,  under  the  protection  of  heavy 
insurance,  to  the  Fine  Arts  Department, 
and  will  soon  be  installed  in  a Chicago  park. 
It  is  the  property  of  the  Lincoln  Memorial 
Fund,  a foundation  of  $100,000  left  by  the 
late  John  Crerar  to  commemorate  Abraham 
Lincoln  in  Chicago.  Saint-Gaudens,  having 
made  “The  Standing  Lincoln”  with  such 
success,  was  given  the  opportunity  for  a 
new  presentation  of  this  great  theme.  “The 
Seated  Lincoln”  has  a soul-stirring  expres- 
sion of  figure  and  countenance;  the  crumpled 
shirt,  the  square-toed  shoes,  the  well-known 
shawl  draped  upon  the  chair,  are  not  more 
real  than  the  simple  greatness  of  soul 
that  somehow  expresses  itself 
throughout. 


[134] 


IM ' 


EARLE  DODGE  MEMORIAL 
EXHIBIT,  FINE  ARTS  ROTUNDA 

The  “Princeton  Student”  made  by  Daniel 
Chester  French  as  the  Earle  Dodge  Memo- 
rial, is  lent  to  the  Exposition  by  the  trustees 
of  Princeton  University.  It  is  this  master’s 
expression  of  the  type  of  young  manhood 
that  makes  for  the  winning  of  respect  and 
enthusiastic  friendship  and  worthy  leader- 
ship in  our  modern  college  life.  Full  of 
energy  and  spirit,  the  youth  steps  forward, 
physically  rugged,  of  athletic  prowess  and 
sportsmanly  character,  intelligent,  frank, 
clear-browed,  fearless  and  straightforward  of 
gaze,  bearing  his  books  with  care  and  ease 
and  draped  with  the  academic  gown,  symbol 
of  scholastic  achievement.  To  give  this 
figure  of  young  manhood  the  solemnity  of  a 
memorial  and  still  keep  it  true  to  the  hearty 
and  cheerful  vigor  it  depicts  was  a notable 
achievement.  The  setting  in  one  of  the 
arches  of  the  Rotunda,  with  the  lagoon  and 
the  landscape-planting  in  the  background,  is 
admirable.  Two  great  universities  have  in 
recent  years  been  graced  by  Mr.  French’s 
work;  his  “Alma  Mater”  on  the  great  stair- 
way of  the  Columbia  University  Library  is 
one  of  the  art  treasures  of 
New  York  City. 


[136] 


FOUNTAIN 

FOYER,  PALACE  OF  FINE  ARTS 


This  fountain,  by  Gertrude  Vanderbilt 
Whitney,  who  made  the  Fountain  of 
El  Dorado  for  the  Exposition,  is  strikingly 
different  from  that  work  in  treatment  and 
character,  showing  a notable  versatility  and 
responsiveness  to  change  in  motif.  As  that 
was  poetically  symbolic,  this  is  a massive 
direct  work  in  a more  virile  and  vigorous 
manner.  It  shows  three  well-modeled  nudes 
supporting  a bowl  heavy  with  richly  laden 
vines.  Its  installation  in  the  center  of  the 
entrance  hall  of  the  Fine  Arts  Palace  is  in 
itself  a work  of  art.  The  white  marble 
fountain — for  this  is  the  original  work, 
loaned  by  the  artist — is  cleverly  contrasted 
with  vivid  green  water  plants  in  the  bowl; 
just  enough  of  them  and  tastefully  placed. 
And  in  the  rim  small  trees  are  set,  of 
well-chosen  verdure,  shape  and  size.  The 
fountain  was  awarded  a 
bronze  medal. 


[138] 


WILDFLOWER 

GARDEN  EXHIBIT,  COLONNADE 


One  of  the  most  varied  and  interesting 
talents  among  the  younger  men  of  distinc- 
tion who  have  exhibited  in  the  Department 
of  Fine  Arts  is  that  of  Edward  Berge  of 
Baltimore.  The  entire  originality  and  free- 
dom from  mannerism  with  which  each 
subject  is  met,  and  the  variety  of  the 
subjects  themselves,  are  worthy  of  note,  as 
are  also  Mr.  Berge’s  singular  lightness  and 
fluidity  of  method.  His  correctness  is 
apparently  unlabored.  No  small  piece  has 
more  admirers  than  this  sweet  and  merry 
little  “Wildflower.”  A secret  of  her  appeal 
may  lie  in  the  fact  that  the  artist  is  the 
father  of  the  model.  The  little  girl,  crowned 
with  a wildflower,  posed  with  the  pertness 
of  a wayside  blossom,  her  hands  extended 
like  pointed  leaves,  has  a roguishness  and 
playful  grace  that  charm.  With  something 
of  the  same  humorous  whimsy  Mr.  Berge 
exhibits  a Sundial  showing  a nude  baby, 
buxom  and  cuddlesome,  embracing  a new 
doll  while  the  old  one  lies  discarded,  illus- 
trating the  legend,  “There  is  no 
Time  like  the  Present.” 


[140] 


THE  BOY  WITH  THE  FISH 
GARDEN  EXHIBIT,  COLONNADE 


Bela  Lyon  Pratt,  widely  esteemed  for  his 
vital  and  imposing  serious  works,  of  which 
a splendid  collection  here  exhibited  has  been 
awarded  a gold  medal,  has  amused  himself 
and  all  of  us  with  this  jolly  little  garden 
piece,  “The  Boy  With  the  Fish.”  It  is  a 
unique  bronze,  never  to  be  reproduced  or 
copied.  Though  hundreds  of  persons  have 
wished  to  purchase  replicas,  no  one  can  ever 
do  so,  for  the  owner  stipulated  with  the 
sculptor  never  to  allow  reproduction.  The 
moulds  have  been  destroyed.  But  no  one 
can  stop  the  joyous  memory  in  many  minds 
of  this  spirited  little  elf,  riding  a turtle, 
struggling  with  his  slippery  fish  and  having 
so  much  fun  about  the  difficult  feat.  One 
of  Mr.  Pratt’s  more  serious  works  that  is 
attracting  the  deserved  attention  of  Expo- 
sition visitors  is  “The  Whaleman,”  a detail 
of  his  noble  Whaleman’s  Memorial.  This 
sculptor  has  done  much  to  encourage  indi- 
viduality and  earnestness  among  the  younger 
men,  not  only  by  example  but  also  in  his 
capacity  of  instructor  in  the  Boston 
Museum  of  Fine  Arts. 


[142] 


YOUNG  DIANA 

GARDEN  EXHIBIT,  COLONNADE 


Janet  Scudder,  an  American  artist  whose 
work  has  been  as  highly  honored  in  France 
as  in  her  native  land,  is  known  chiefly  for 
her  poetic  and  happy  expressions  of  the 
out-of-door  spirit.  Her  fountains  and  gar- 
den pieces  are  small  and  sportive  but 
intensely  sincere  and  never  trivial.  She  has 
a pagan  sense  of  natural  imagery  and  a 
deep  feeling  for  childhood.  Her  finish  is 
delicate  and  perfect.  The  “Young  Diana,” 
here  illustrated,  girlish,  with  singularly 
natural  untrammeled  grace — slender,  beau- 
tiful and  novel  in  conception — was  awarded 
honorable  mention  in  the  Paris  Salon  of 
1911.  The  young  goddess  of  the  chase,  the 
moon  and  of  maidens,  is  presented  as  still 
more  of  a maid  than  a goddess,  glad  with 
the  freedom  of  girlhood,  unconscious  of  her 
Olympian  inheritance.  Miss  Scudder  has 
received  the  distinction  of  having  one  of  her 
fountains  purchased  by  the  Metropolitan 
Museum  in  New  York.  This  is  the  Frog 
Fountain  which,  loaned  by  that  Museum, 
appears  in  the  Palace  of  Fine  Arts.  Her 
“Little  Lady  of  the  Sea,”  also  here  exhibited, 
received  notable  consideration  in  the  Paris 
Salon  of  1913.  She  is  the  holder  of  a 
silver  medal  awarded  by  the 
present  Exposition. 


[144] 


YOUNG  PAN 

GARDEN  EXHIBIT,  COLONNADE 


One  of  the  charms  of  the  Exposition  lies  in 
the  fact  that  the  long  rainless  summer  and 
beautiful  plant-life  of  California  permit  the 
garden  pieces  to  be  displayed  out  of  doors 
in  the  setting  desired  for  them  by  their 
sculptors.  This  little  Pan  of  Janet  Scud- 
der’s,  for  instance,  is  far  happier  in  his 
appropriate  mass  of  foliage  than  if  he  were 
inside  of  a gallery.  “Young  Pan,”  a garden 
figure,  is  witty,  elfin,  very  engaging.  He  is 
a seaside  Pan  instead  of  the  woodland 
dweller  usually  portrayed.  His  foot  is — 
rather  recklessly  one  would  think,  were  this 
not  a magical,  superhuman  being — placed 
heel-down  upon  the  back  of  a great  crab. 
A pretty  pedestal  base,  with  sea-shell  deco- 
ration, supports  the  baby  god.  This  base, 
by  the  w*ay,  Miss  Scudder  attributes  as  the 
work  of  Laurence  Grant  White.  Pan  is 
enjoying  the  music  of  the  two  long  pipes  he 
blows-playing  one  of  the  unplaced  wild  lilts 
of  nature,  w’e  may  be  sure.  This  sense  of 
enjoyment  and  his  debonair  little  swagger 
are  festive  and  delightful.  His  mischievous 
gaiety  communicates  itself  to  the  beholder. 
This  humorous  quality  appears  in  another 
merry  little  god  by  the  same  sculptor, 
her  “Flying  Cupid,”  close  at  hand. 


'[  146] 


FIGHTING  BOYS 
GARDEN  EXHIBIT,  COLONNADE 


Another  evidence  of  the  charm  of  outdoor 
installation  is  seen  in  Miss  Scudder’s  Foun- 
tain of  the  Fighting  Boys,  so  beautifully 
placed,  with  the  waters  in  actual  play,  in 
the  Peristyle  Walk  about  the  Fine  Arts 
Palace.  The  original  of  this  little  fountain 
is  owned  by  the  Art  Institute  of  Chicago. 
There  can  be  no  doubt  that  this  fight  is 
without  rancor;  the  faces  of  the  cherubic 
contestants  are  so  gay  and  good-natured 
that  only  the  determined  little  tug  of  the 
hair,  the  business-like  pressure  of  chubby 
knee  upon  knee,  the  uncertain  possession  of 
the  big  fish  that  is  the  cause  of  contention, 
makes  us  see  that  a battle  is  raging.  The 
boys  fight  merrily,  evidently  enjoying  both 
the  contest  and  the  downpour  of  water  that 
complicates  it.  An  unexpected  accidental 
beauty  has  been  added  to  this  and  all  the 
Exposition  fountains.  Some  colorful  sub- 
stance in  the  water  that  plays  upon  them 
has  given  soft  touches  of  the  same  rich  ochre 
tone  that  appears  in  the  columns.  This 
increases  the  effectiveness  and  takes  away 
the  appearance  of  boldness  or  newness, 
substituting  a weather-beaten  and  perma- 
nent aspect.  When  long  spires  of  flowers 
are  in  bloom  and  reflect  their  beauty  in 
this  little  fountain  pool,  the  gayety  and 
loveliness  of  the  spot  are 
entrancing. 


[148] 


DUCK  BABY 

GARDEN  EXHIBIT,  COLONNADE 


The  contagious  mirth  of  “The  Duck  Baby,” 
a garden  figure  by  Edith  Barretto  Parsons,  is 
irresistible.  This  plump  little  image  of  good 
cheer  conquers  the  most  serious;  every 
observer  breaks  into  answering  chuckles  as 
this  smile-compelling  small  person,  holding 
fast  her  victims,  beams  upon  them.  The 
frieze  of  busy  ducklings  on  the  pedestal  base 
adds  to  the  amusing  impression.  This  figure 
makes  such  a universal  appeal  that  thou- 
sands of  postal  card  pictures  and  amateur 
photographs  by  exposition  visitors  have  been 
sent  in  a steady  stream  throughout  the 
land,  scattering  the  Duck  Baby’s  good  cheer 
far  and  wide  ever  since  the  Exposition 
opened.  In  the  presence  of  so  much  that 
is  weighty  and  powerful,  this  popularity  of 
the  “Duck  Baby”  is  significant  and  touching 
indication  of  the  world’s  hunger  for  what  is 
cheerful  and  mirth  - provoking.  Another 
well-liked  and  winsome  work  with  a chubby 
baby  figure  at  its  center  is  “The  Bird  Bath” 
by  Caroline  Risque,  in  which  a lovable 
baby,  with  an  expression  of  the  tenderest 
sympathy,  holds  a little  bird 
to  his  breast. 


[ISO] 


MUSE  FINDING  THE  HEAD  OF  ORPHEUS 
GARDEN  EXHIBIT,  COLONNADE 


Under  the  branches  of  a low  tree  the  poetic 
group  by  Edward  Berge,  “Muse  Finding  the 
Head  of  Orpheus/’  a white  marble  group  of 
superior  elegance  and  texture,  arrests  the 
passerby.  A Muse  kneels,  drooping  in 
exquisite  pathos  over  the  head  of  Orpheus 
found  in  the  waves.  The  sculptor  has 
chosen  the  tragic  side  of  the  Orphean  myth. 
The  son  of  Apollo  and  the  Muse  Calliope, 
whose  heaven-taught  lyre  charmed  men  and 
beasts,  melted  rocks  and  even  opened  the 
gates  of  Erebus,  had  failed  to  win  from 
death  his  bride,  Eurydice,  lost  to  him  for 
the  second  time.  As  he  wandered  discon- 
solate, the  Thracian  bacchantes  wooed  him 
in  vain.  Maddened  by  failure  and  by  their 
bacchanal  revels,  they  called  upon  Bacchus 
to  avenge,  and  hurled  a javelin  upon  him. 
But  the  music  charmed  the  weapon,  until 
the  wild  women  drowned  it  with  their  cries. 
Then  they  dismembered  the  singer  and 
threw  him  to  the  waves;  but  the  very  frag- 
ments were  melodious  and  reached  the 
Muses,  who  buried  them  where  the  nightin- 
gale still  sings  “Eurydice.”  So  runs  the 
allegory;  even  drowned  by  earthly  clamors, 
slain  and  torn  by  wanton  hands,  the  song 
of  Poetry  continues,  the  weeping 
Muses  save. 


[152] 


DIANA 

GARDEN  EXHIBIT,  SOUTH  LAGOON 


In  a setting  of  surpassing  appropriateness 
and  beauty,  installed  high  amid  the  tall 
shrubbery  as  if  emerging  from  the  edge  of 
one  of  her  own  forests,  the  huntress  Diana 
points  the  arrow  she  is  about  to  let  fly. 
This  rendering  by  Haig  Patigian,  who  made 
the  heroic  Powers  and  other  decorations  on 
Machinery  Hall,  is  simple,  classic,  pure, 
imaginative,  poetic  in  purpose  and  in  effect. 
He  has  softened  the  traditional  coldness  of 
the  goddess  by  a warmer  humanity  without 
injuring  the  sense  of  proud  aloofness.  The 
Maiden  goddess  of  the  Hunt  bears  in  her 
hand  the  crescent  bow,  its  lines  here  strongly 
suggestive  of  those  of  the  young  moon,  of 
which  it  is  the  symbol  and  this  goddess  the 
deity.  Mr.  Patigian  exhibits  in  the  Colon- 
nade a companion  piece,  “Apollo,  the  Sun 
God,”  twin  brother  of  Diana.  A vivid 
figure  of  manly  grace,  Apollo  is  presented 
in  the  guise  of  the  sun  of  the  morning.  He 
kneels  and  shoots  an  arrow  upward;  the 
long,  pleasing  curve  of  his  bow  suggests  the 
outline  of  the  sun  above  the  horizon  as 
Apollo  releases  his  first  bright 
shaft  of  light. 


[154] 


EURYDICE 

GARDEN  EXHIBIT,  COLONNADE 


This  “Eurydice,”  by  Furio  Piccirilli,  pic- 
tures the  nymph  as  standing  against  the 
background  of  an  echoing  rock,  listening  to 
the  distant  strains  of  the  magic  lyre  of  her 
lover,  Orpheus.  Orpheus  had  been  taught 
to  play  by  Apollo,  his  father,  and  could 
enchant  the  animate  and  inanimate  world 
by  his  music.  So  he  charmed  the  nymph, 
Eurydice;  but  Hymen,  god  of  marriage, 
refused  to  prophesy  happiness  at  their 
nuptials  and  soon  Eurydice,  in  escaping 
from  a pursuer,  trod  upon  a snake,  was 
bitten  and  died.  Orpheus’  sorrowful  music 
moved  all  the  earth  to  pity.  Even  Pluto 
and  the  keepers  of  Erebus  relented,  allowed 
the  musician  to  descend  into  their  forbidden 
realm  and  lead  Eurydice  back  to  life,  pro- 
vided he  should  not  turn  backward  to  gaze 
upon  her  until  they  reached  the  world  of 
mortals.  But  the  lover  could  not  resist  the 
desire  to  assure  himself  of  her  presence, 
looked,  and  lost  her  forever.  Furio  Picci- 
rilli, who  made  this  marble,  is  the  sculptor 
who  has  graced  the  Exposition  with  the 
four  Fountains  of  the  Seasons  in  the  Court 
of  that  name.  For  this  “Eurydice”  and  his 
other  small  group,  “Mother  and  Child,” 
he  has  taken  a silver  medal. 


[156] 


WOOD  NYMPH 

GARDEN  EXHIBIT,  COLONNADE 


Isadore  Konti,  from  whose  hand  came  also 
the  inspiring  panels  at  the  base  of  the 
Column  of  Progress,  described  in  a preceding 
page,  is  the  sculptor  of  this  pretty  “Hama- 
dryad.” The  Dryads  and  Hamadryads 
lived,  according  to  old  legend,  within  the 
trunks  of  trees  and  perished  with  their 
homes.  So  it  was  an  impious  act  to  destroy 
a tree  without  cause.  This  nymph  of  the 
woods  has  emerged  from  the  tree-trunk 
home  or  from  some  rocky  fastness  and  taken 
the  urn  of  a naiad,  a sister  nymph  of  brook 
and  fountain,  to  give  drink  to  the  gentle, 
confident  fawn  that  is  her  charge.  The 
little  animal  is  lapping  the  stream  that  flows 
from  the  overturned  vase.  This  study  in 
white  marble  follows  tradition  and  is 
regarded  chiefly  for  its  gentle  grace  and 
careful  tooling.  It  is  harmoniously  com- 
posed and  has  a beautiful  surface.  Mr. 
Konti’s  varying  moods  are  represented  in 
the  Fine  Arts  collection  by  a number  of 
works,  each  revealing  a different  intention — 
from  the  pretty  and  restful,  like  this, 
to  the  large  and  stirring. 


[158] 


L’AMOUR 

GARDEN  EXHIBIT,  COLONNADE 


There  are  few  more  complete  examples  of 
delicacy  of  feeling  and  of  refined,  caressing 
perfection  of  tooling  than  this  exquisite 
marble  group,  “L’Amour,”  by  Evelyn 
Beatrice  Longman.  The  purity  of  its 
emotion,  the  tenderness  and  fidelity  of  its 
poignant  pose,  are  surpassed  only  by  the 
marvel  of  surface  finish.  The  surface  has 
been  gone  over  so  lovingly,  so  painstakingly, 
so  repeatedly  that  the  marble  has  taken  on 
the  soft,  warm  impression  of  living  flesh. 
And  the  gentle  unstrained  modeling  has  the 
plastic  grace  of  the  human  body.  Miss 
Longman,  winner,  by  the  way,  of  a silver 
medal  for  exhibits  in  the  Fine  Arts,  is  the 
maker  of  the  Fountain  of  Ceres  in  the  Fore- 
court of  Seasons  that  has  been  described. 
She  is  an  earnest  and  serious  artist  of 
abundant  talent  whose  work  is  treated  with 
ever-increasing  respect  and  admiration.  She 
won  the  competition  for  the  doors  of  the 
Naval  Academy  at  Annapolis,  for  which 
there  were  many  distinguished  aspirants. 
She  presents  Love  in  the  group  under 
discussion  as  a rarefied  and  inspiring  emotion 
in  which  the  physical  and  spiritual  com- 
mingle and  “sense  helps  soul”  as  well 
as  “soul  helps  sense.” 


[160] 


AN  OUTCAST 

GARDEN  EXHIBIT,  COLONNADE 


This  epic  figure,  “An  Outcast,”  compelling 
by  its  earnestness  and  the  tragedy  of  its 
motive  idea,  is  handled  with  firmness,  assur- 
ance and  a perfect  sense  of  volume  and 
sculptural  mass  values.  It  is  exhibited  by 
Attilio  Piccirilli,  the  artist  who  designed  the 
Maine  Memorial  in  New  York  City.  The 
appeal  of  “An  Outcast’*  is  too  direct  to 
need  any  illumination.  Its  frank  bigness 
and  physical  power  and  tenseness,  so  sugges- 
tive and  so  desperate,  are  Rodinesque.  But 
though  the  work  is  influenced  by  that 
master’s  school  and  thought,  it  is  by  no 
means  a copy  of  his  method.  This  sculptor 
has  a number  of  interesting  groups  in  the 
exhibit  palaces  and  has  been  granted  a gold 
medal.  The  dejected  and  desolate  Outcast, 
so  huge  and  so  tragic,  is  in  sharp  contrast 
with  the  quaint  and  fanciful  “Fawn’s 
Toilet,”  by  the  same  hand,  at  the  entrance 
to  the  Colonnade.  Attilio  and  Furio  Picci- 
rilli, whose  wrork  has  been  here  noticed, 
are  brothers,  members  of  a 
family  of  sculptors. 


[162] 


THE  SOWER 

GARDEN  EXHIBIT,  COLONNADE 


One  of  the  most  useful  services  of  a great 
Exposition,  especially  as  it  relates  to  the 
world  of  art,  is  its  service  in  bringing  to  the 
attention  of  the  public  the  power  of  new  and 
rising  stars  on  the  horizon  of  achievement. 
Albin  Polasek  has  made  his  work  generally 
felt  at  this  Exposition,  where  he  received  a 
silver  medal.  He  is  one  of  the  most  talented 
sculptors  of  the  American  Academy  at 
Rome.  He  won  honorable  mention  in  the 
Paris  Salon  in  1913,  and  the  Prix  de  Rome 
in  1910.  He  was  the  holder  of  the  Cresson 
scholarship.  His  “Sower”  was  the  culmi- 
nating work  of  his  early  labors,  the  product 
of  his  final  year  at  Rome,  in  which  year  a 
heroic  figure  is  required  of  every  student. 
It  caused  the  critics  to  prophesy  for  this 
sculptor  the  future  that  is  developing.  Mr. 
Polasek’s  work  has  the  same  unassailable 
rigor  of  truth  as  that  of  Charles  Grafly, 
who  was  his  teacher.  “The  Sower”  enno- 
bles an  humble  theme.  It  has  sweep  and 
life  and  distinction  of  bearing.  In  “The 
Girl  of  the  Roman  Compagna,”  close  at 
hand  in  this  Colonnade,  the  sculptor  shows 
his  equal  power  in  a softer  theme.  The 
Roman  girl  is  a well-poised  and  beautiful 
expression  of  the  spirit  of  old  Rome  in 
the  days  of  her  grand  simplicity. 


[164] 


THE  BISON 

GARDEN  EXHIBIT,  SOUTH  APPROACH 


These  mighty  monarchs  of  the  plains,  now 
disinherited  by  human  progress,  the  Amer- 
ican bisons,  are  here  more  than  portrayed; 
they  are  realized.  Their  essential  character- 
istics, their  strong  mass,  bulky  without 
clumsiness,  are  made  present  and  convincing 
in  these  two  statues  by  A.  Phimister  Proc- 
tor, a master  of  animal  sculpture.  There  is 
good  reason  for  the  living  and  sharp  aspect 
of  these  plaster  models.  They  are  not  copies 
of  the  permanent  statues;  they  are  the  sculp- 
tor’s own  original  plasters  from  which  the 
permanent  pieces  were  cast.  A number  of 
Mr.  Proctor’s  animal  studies  stand  in  the 
great  zoological  parks  of  our  nation.  He 
does  not  idealize  or  humanize  the  beasts 
he  depicts;  but  he  understands  them  and 
reverses  the  underlying  life  that  gives  them 
their  racial  and  personal  individuality. 
Partly  his  Canadian  love  of  the  wild,  partly 
a technician’s  delight  in  mastering  this  diffi- 
cult phase  of  art,  has  caused  a lifelong 
devotion  to  animal  studies.  They  are  not 
photographic,  but  combine  the  qualities  of 
sculptural  beauty  with  rugged  and  imposing 
freedom.  A varied  and  stimulating  collec- 
tion of  Mr.  Proctor’s  work,  exhibited  at  the 
Exposition,  has  won  a gold  medal.  It 
includes  the  famous  “Princeton 
Tiger.” 


[166] 


THE  SCOUT 

GARDEN  EXHIBIT,  SOUTH  LAGOON 


Cyrus  Edwin  Dallin  has  devoted  many  years 
and  much  of  his  high  talent  to  the  poetry 
and  beauty  of  the  American  Indian.  He 
says  that  this  Scout  is  to  be  the  last  of  his 
long  series  of  Indian  studies,  and  he  believes 
it  to  be  the  best  of  them  all.  Surely  it  has 
an  exalted  beauty  and  is  a noble  example  of 
Mr.  Dallin’s  firm,  finished,  accurate  method, 
perfection  of  restraint  and  free  grace  of 
modeling.  It  has  a clear  and  beautiful 
directness  that  is  almost  Greek  in  feeling. 
Those  who  do  not  believe  in  the  pictur- 
esqueness and  dignity  of  the  Indian  as 
celebrated  in  these  bronzes,  need  only  to 
have  seen  the  photographs  in  the  exhibit  of 
the  Indian  Memorial  booth  in  the  Palace 
of  Education.  Some  of  the  chiefs  there 
shown  have  the  dignity  of  Caesar  and  the 
knightly  splendor  of  heroic  periods.  Copies 
of  almost  all  the  Dallin  Indians  and  other 
of  his  notable  works  appear  in  the  Palace 
of  Fine  Arts,  where  Mr.  Dallin  is  a 
gold  medalist.  They  include  the  famous 
“Appeal  to  the  Great  Spirit,”  which 
stands  before  the  Boston 
Museum  of  Art. 


[168] 


THE*THINKER 

EXHIBIT,  COURT  OF  FRENCH  PAVILION 


It  is  a satisfaction  that  at  the  entrance  to 
the  Pavilion  of  France  should  stand  this 
great  work  of  the  master  sculptor  of  our  age. 
This  is  a replica  of  “Le  Penseur”  (The 
Thinker),  placed  before  the  doors  of  the 
Pantheon  in  Paris.  Paul  Gsell  says  of  it: 
“Before  us,  the  Thinker,  his  fist  beneath  his 
chin,  his  toes  clutching  the  rock  upon  which 
he  sits,  bends  his  back  beneath  the  over- 
powering weight  of  a meditation  that  sur- 
passes the  endurance  of  the  human  spirit. ” 
Here,  tremendous,  rugged,  primitive  human 
strength  at  its  highest  power  suffers  under 
the  first  great  grapple  of  the  human  mind 
with  problems  of  the  unknowable  universe. 
It  is  majestic,  true,  an  expression  of  our  age; 
it  is  everlasting  art.  Rodin  kept  this  replica 
outdoors  for  a long  time,  thinking  the  rigor 
of  the  elements  helpful  to  its  finish.  “The 
Thinker”  and  other  Rodins  in  the  French 
Pavilion  are  loaned  by  Mrs.  A.  B.  Spreckels 
of  San  Francisco.  Americans  and  American 
museums  have  long  appreciated  this  master 
of  whom  Octave  Mirbeau  says:  “Not  only 

is  he  the  highest  and  most  glorious  artistic 
conscience  of  our  time,  but  his  name  bums 
henceforth  like  a luminous  date  in 
the  history  of  art.” 


[170] 


EARTH 

FRUIT  PICKERS,  COURT  OF  AGES 


In  the  corners  of  the  ambulatory  about 
the  Court  of  Ages,  crystallizing  the  color 
and  design  of  its  long,  arched  ceiling,  are 
the  opulent,  warm,  vibrant  murals  by  Frank 
Brangwyn.  They  introduce  to  the  general 
public  of  America  this  Belgian-English  artist 
who  has  long  been  esteemed  among  the 
great  of  the  world.  He  has  presented  here 
the  Elements,  two  interpretations  of  each, 
in  relation  to  their  service  to  simple  human 
life.  The  paintings  are  neither  allegorical 
nor  photographic,  but  highly  interpretative 
of  the  luxuriant  picturesqueness  of  nature 
and  the  everyday  labors  of  man.  The 
luminosity  of  color,  dash  and  daring  of 
contrast,  fairly  crackle  with  life  and  yet  have 
rich  depths  of  quietness.  The  two  panels 
of  Earth  glow  with  the  earth’s  abundance. 
The  first,  the  “Fruit  Pickers,’’  here  shown, 
in  which  harvesters  gather  fruits  from  high 
trees  and  the  laden  ground,  is  notable  for 
its  marvelous  massing  of  composition  and 
color.  The  second,  “Dancing  the  Grapes,” 
is  remarkable  for  its  shimmering  contrasts 
of  light  and  shade.  In  both  you  get  the 
tang  of  the  harvest  season. 


[172] 


FIRE 

INDUSTRIAL  FIRE,  COURT  OF  AGES 


The  two  Fire  panels  represent  this  element 
in  its  two  phases  of  serviceability.  The 
first  shows  its  simplest  use,  that  of  giving 
warmth  to  man;  the  second,  its  more  devel- 
oped employment  as  an  agent  of  manufac- 
ture. In  the  “Primitive  Fire,”  a gray, 
woodsy  plume  of  smoke  rises  to  the  autumn 
sky.  A group  of  workers  have  made  a fire 
at  the  edge  of  a grove;  they  surround  it, 
some  encouraging  the  growing  blaze  by 
blowing  upon  it,  others  leaning  forward 
toward  its  warmth.  The  thin  pillar  of 
waving  smoke  is  executed  with  such  fidelity 
that  it  explains  why  this  artist’s  admirers 
dwell  upon  his  handling  of  fugitive  surface 
tones,  as  smoke  or  clouds,  as  much  as  upon 
his  more  obvious  excellences.  In  “Industrial 
Fire,”  here  reproduced,  the  smoke  rises  not 
in  fine  line,  but  in  heavy  mass  from  a kiln. 
It  is  a rich  cloud,  colorful  with  iridescent 
metallic  lustres.  Workers  feed  the  blaze, 
their  warm  flesh  glowing  in  the  mixed  light. 
Whole  vessels  and  broken  bits  of  pottery 
are  heaped  and  scattered  upon 
the  ground. 


[174] 


WATER 

FOUNTAIN  MOTIVE,  COURT  OF  AGES 


As  the  Earth  panels  are  luxuriant,  teeming 
with  a sense  of  plentitude,  and  the  Fire 
panels  are  moving  with  the  grace  of  rising 
smoke,  those  that  represent  the  phases  of 
Water  are  moist  and  lush.  In  the  one  here 
shown,  “The  Fountain,”  people  have  come 
through  the  damp  grasses,  bearing  their 
bright  vessels  to  fill  them  with  water  that 
flows  downward  from  a spring  in  a long, 
fine,  curving  bow.  The  beautiful  grouping, 
the  pose  of  the  figures  and  the  graceful  lines 
of  the  vessels  are  unforgetable.  The  air  is 
fluid;  great  white  clouds  stretch  across  the 
sky,  which  has  the  same  liquid  beauty  as 
the  water  in  the  background.  Water-birds 
and  dewy  flowers  add  life  and  color.  The 
grateful  use  of  water  for  man’s  thirst  is 
beautifully  told.  In  the  other  water  panel, 
“The  Net,”  hardy  fishermen,  standing  in 
the  water-reeds  and  blossoming  flag-lilies, 
haul  in  the  last  catch  of  the  brightly  dying 
day.  Others  bear  on  their  heads  baskets 
heavy  with  the  success  of  earlier  castings. 

Heavy  sea-clouds  are  tinted  by  the 
late  afternoon  sunshine. 


[176] 


AIR 

THE  WINDMILL,  COURT  OF  AGES 


The  two  panels  of  Air  may  well  be  thought 
of  as  the  air  that  moves  and  the  air  that 
supports.  In  the  first,  “The  Windmill,” 
which  is  illustrated,  the  motion  of  the  wind 
and  of  the  world  it  blows  is  dazzling.  The 
field  of  golden  grain,  bright  in  the  glow  of 
the  sun  that  has  just  broken  through  the 
rain  clouds,  is  quivering  with  graceful 
undulations.  The  great  wings  of  the  wind- 
mill turn,  with  flapping  sails.  The  little 
kites  are  blown  tempestuously.  The  gar- 
ments of  the  workers  wave  forward  as  they 
walk,  braced  against  the  wind  that  blows 
from  behind  them.  A brilliant  rainbow  and 
wind-blown  dark  rain-clouds  tell  the  end  of 
a passing  storm.  In  the  second  Air  panel, 
which  is  called  “The  Hunters,”  the  air 
supports  the  arrows  just  shot  from  the  bows 
of  hunters  who  hide  behind  the  last  trees 
at  the  edge  of  a wood.  It  bears  also  flocks 
of  homing  birds  and  light  clouds  blown 
across  a ruddy  sunset  sky. 


[178] 


HALF  DOME 

COURT  OF  THE  FOUR  SEASONS 

The  murals  in  the  Court  of  the  Four 
Seasons  are  the  work  of  Milton  Herbert 
Bancroft.  They  are  smooth,  flat,  highly 
decorative  to  the  wall  surfaces  into  which 
they  blend  with  rare  discretion  and  harmony. 
They  have  a soft  beauty  of  coloring  and  a 
classic  definiteness  of  outline  that  accord 
well  with  the  pure  feeling  of  this  court. 
Mr.  Bancroft  has  kept  two  ideas  consistently 
throughout  these  murals.  One  is  the  abun- 
dance of  rewards  and  delights  brought  by 
the  changing  seasons;  the  other,  the  fruitful 
labors  of  man.  In  this  second  idea  special 
honor  is  tendered  to  those  who  labor  in  the 
arts  and  artistic  crafts.  To  these  two  ideals 
the  sculptor  has  given  the  unifying  title, 
“The  Pleasures  and  Work  of  the  Seasons.” 
The  panels  of  The  Seasons  appear  in  the 
walls  of  the  fountain  niches.  In  the  place 
of  honor  is  the  beautiful  Half  Dome ; beneath 
its  colorful  decorated  roof  are  the  great 
panels,  “Man  Receiving  Instruction  in 
Nature’s  Laws”  and  “Art  Crowned  by 
Time.”  In  the  former,  Nature  holds  her 
child,  Man,  in  her  arms.  She  has  sum- 
moned for  him  all  the  forces  of  the  Universe, 
who  attend  in  a group  of  calm  dignity. 
She  teaches  him  that  by  obedience  to  her 
laws  all  these  forces,  Earth,  Fire,  Water, 
Life,  and  even  Death,  will  serve  and  never 
harm.  The  other  panel  is  described 
on  the  following  page. 


[180] 


ART  CROWNED  BY  TIME 
COURT  OF  THE  FOUR  SEASONS 


In  this  calm  and  classic  panel,  “Art  Crowned 
by  Time,”  the  sculptor  has  done  honor  not 
only  to  the  Fine  Arts  but  also  to  those  artistic 
crafts  that  fulfill  the  perfect  combination 
of  use  and  beauty.  In  the  center  of  the 
panel  stands  Art,  a superb,  regal  figure, 
serenely  indifferent  to  the  wreath  of  appre- 
ciation with  which  she  is  being  crowned  by 
the  hand  of  Time.  She  is  surrounded  by 
her  attendants,  the  Useful  Crafts:  Weaving, 
with  her  distaff;  Glasswork,  holding  care- 
fully a delicate  example  of  her  skill;  Jewelry, 
a beautiful  youth  severely  garbed,  bearing 
an  ornate  casket;  Pottery,  with  a finished 
vase  upon  her  knee;  Smithery,  carrying  in 
his  strong  arm  a piece  of  armor;  and  Print- 
ing, cherishing  in  both  hands  a beautiful 
clasped  book.  The  panel  has  a fine  Olym- 
pian dignity  and  an  omateness  that  becomes 
simplicity  through  grace  of  handling,  and 
does  not  mar  the  correct  mural  flatness  of 
surface.  In  spite  of  the  gracefully  com- 
posed grouping  each  figure  has  individual, 
almost  statuesque,  distinction.  The  treat- 
ment of  the  draperies  is 
interesting. 


[182] 


THE  SEASONS 

COURT  OF  THE  FOUR  SEASONS 


The  fountain  niches  of  the  Seasons  in  the 
Court  of  the  Four  Seasons  are  graced  by 
Milton  Herbert  Bancroft’s  appropriate  pan- 
els. Two  of  these,  one  on  each  wall  of  the 
fountain  niche,  are  devoted  to  each  season. 
One  represents  the  pleasures  that  that 
period  of  the  year  brings  forth  for  man;  the 
other  shows  the  duties  it  demands  of  him. 
In  “Spring,”  we  have  the  poet’s  conception 
of  the  time  of  blossoms  and  garlands,  of 
young  loves,  piping  shepherds  and  dancing 
maidens,  while  the  goddess  of  the  season 
dreams  of  coming  glories.  In  the  com- 
panion panel,  “Seedtime,”  the  waiting  farm- 
ers attend  her  as  she  stands,  sceptered  with 
an  Easter  lily,  and  extends  her  benison  on 
the  land.  “Summer”  crowns  the  victors  in 
athletic  sports;  while  in  “Fruition”  the 
goddess  of  the  season  receives  the  tribute 
of  the  successful  workers  of  the  soil.  The 
panel  called  “Autumn”  is  gay  with  the 
dance  of  the  vineyard  festival;  three  happy 
figures  modeled  with  grace  and  much  refine- 
ment are  placed  on  a background  divided 
into  panels  by  a vine.  But  “Harvest”  is 
quiet  and  serious;  the  goddess,  bearing  the 
torch  of  Indian  Summer,  receives  the  sheaves 
of  the  gleaners.  So  in  “Winter,”  one  panel 
shows  Festivity,  with  the  old  bard,  the 
Christmas  garland  and  the  gaieties  of  the 
home;  the  other,  the  distaff  by  the  fireside, 
the  huntsman  and  the 
wood-cutter. 


[184] 


WESTWARD  MARCH  OF  CIVILIZATION 
ARCH,  NATIONS  OF  THE  WEST 


Decorating  the  inner  walls  of  the  Arch  of 
the  Setting  Sun  are  two  long,  colorful  panels 
by  Frank  Vincent  Du  Mond,  inspired  by 
the  historical  background  of  the  West.  They 
have  refreshing  vividness  of  color,  clear 
precision  of  draughtsmanship  and  a bright 
enthusiasm  for  their  subject.  With  a narra- 
tive quality  unusual  in  a mural  they  com- 
memorate the  adventurous  spirit  that  led  a 
stable  civilization  in  the  march  across  the 
continent  of  America.  In  the  panel, 
“Leaving  the  East,”  emigrants  depart  from 
a barren,  snowy  coast,  upon  which  stands 
the  meeting-house,  source  of  so  many 
national  traditions.  A youth  bids  farewell 
to  his  sorrowing  friends;  a group  of  adven- 
turers bearing  the  bare  necessities  of  life 
leads  the  way  to  the  frontier.  In  the  central 
group,  surrounding  the  old  Concord  wagon 
laden  with  household  goods,  appear  the 
Jurist,  Preacher,  Schoolmistress,  the  Child — 
Symbol  of  the  Home — the  Plains’  Driver 
and  the  Trapper.  A symbolic  figure,  “The 
Call  of  Fortune,”  accompanies  them.  Some 
of  the  characters  are  actual  portraits,  as  are 
also  the  Artist,  Writer,  Scholar,  Architect 
and  Sculptor  in  the  opposite  panel,  “The 
Arrival  in  the  West.”  In  this  the  lavishness 
and  opulence  of  California  welcome  the 
pioneers.  Mr.  Du  Mond  is  a member  of 
the  International  Jury  of  Awards  in  the 
Fine  Arts  Department  of  the 
Exposition. 


[186] 


DISCOVERY— THE  PURCHASE 
TOWER  OF  JEWELS 


The  murals  in  the  great  tower  are  properly 
dedicated  to  the  Panama  Canal.  In  them 
William  de  Leftwich  Dodge  admirably 
interprets  its  history,  labors  and  triumphant 
achievement.  Each  of  the  long  decorative 
bands  is  divided  into  three  panels.  The 
central  panels,  96  feet  long,  are,  on  the 
west  wall,  “The  Atlantic  and  the  Pacific,” 
celebrating  the  united  nations  face  to  face 
across  the  united  waters,  and  on  the  east, 
“The  Gateway  of  All  Nations,”  an  alle- 
gorical pageant  of  triumph.  The  “Gateway 
of  All  Nations”  is  flanked  by  “Achievement” 
and  “Labor  Crowned,”  noble  and  timely 
tributes  to  the  Workers  who  made  the  canal. 
Those  here  reproduced,  opposing  them  on 
the  western  wall,  are  historic.  “Discovery” 
shows  Balboa,  “on  a peak  in  Darien,”  in 
awe  at  his  great  moment  of  discovering  the 
Pacific.  The  Spirit  of  Adventurous  Fortune 
attends  him.  Watching  him,  sits  the  Indian 
guarding  his  treasures,  a tragic  prophecy  in 
face  and  figure.  “The  Purchase”  com- 
memorates the  part  of  France  in  this 
achievement.  Columbia  is  purchasing  the 
title  from  her  sister  republic.  American 
workmen,  led  by  Enterprise,  take  up  the 
tools  that  French  laborers  have 
relinquished. 


[188] 


IDEALS  OF  EMIGRATION 
ARCH,  NATIONS  OF  THE  EAST 

The  mural  panels  in  the  Eastern  arch  are 
devoted  to  the  ideals  and  motives  that 
brought  men  across  the  sea.  They  are  by 
Edward  Simmons  and  show  that  fresh  juve- 
nility of  touch,  that  exquisite  lucid  tender- 
ness of  color  and  gentle  lightness  of  motion 
that  give  his  work  its  delightful  poetic 
quality.  But  Mr.  Simmons’  art  has  always 
a deep  accent  and  the  imagery  in  these 
panels  touches  fundamentals.  “Visions  of 
Exploration,”  the  upper  as  here  pictured, 
are  Hope  and  Illusory  Hope — she  who  casts 
bubbles  behind  her — Adventure,  following 
the  lure  of  the  bubbles;  then,  in  a dignified 
central  group,  Commerce,  Imagination,  Fine 
Arts  and  Religion;  these,  followed  at  a little 
distance  by  Wealth  and  The  Family,  potent 
motives  of  the  immigrant  of  today.  In  the 
background,  the  Taj  Mahal  and  a modern 
city  indicate  the  ideal  and  the  practical. 
On  the  opposite  panel,  called  the  “Lure  of 
the  Atlantic,”  the  Call  of  the  New  World, 
a youth  blowing  a trumpet,  summons  the 
brave  explorers,  the  man  of  Atlantis,  of  the 
Classic  Age,  of  Northern  and  Southern 
Europe,  the  Missionary  Priest,  the  Artist 
and  the  Modem  Immigrant.  They  are  fol- 
lowed by  the  Veiled  Future,  still  heark- 
ening to  the  onward  call. 


[190] 


THE  GOLDEN  WHEAT 
ROTUNDA,  PALACE  OF  FINE  ARTS 


The  richly  ornate  ceiling  of  the  Rotunda 
of  Fine  Arts  is  embellished  by  a double 
series  of  eight  panels  from  the  brush  of 
Robert  Reid,  in  the  luminous,  fervid,  joyous 
vein  that  characterizes  the  method  of  this 
highly  honored  American  artist.  The  task 
assigned  him  here  was  a test  of  skill.  The 
arched  effect,  so  beautifully  achieved,  and 
the  great  accomplishment  of  merging  the 
huge,  brilliant  panels  into  the  decorative 
plan,  were  not  the  only  difficulties.  He  had 
also  to  calculate  the  scale  of  proportion  to 
a mathematical  nicety,  to  make  the  figures 
large  enough  to  appear  the  proper  size  when 
viewed  so  high  overhead.  The  panels  are 
in  two  sequences,  four  of  them  devoted  to 
each  subject.  The  sequence  of  which  an 
example  is  illustrated  is  the  Four  Golds  of 
California:  “The  Golden  Poppy,”  the  “cup 

of  gold”  that  makes  the  spring  a glory  on 
California  hills;  “The  Golden  Fruit,”  the 
citrus  fruits  that  are  her  pride;  “The 
Golden  Metal”  that  called  the  world  to  her 
hill-sides,  and  “The  Golden  Wheat,”  here 
shown,  the  treasure  of  her  fields,  borne  high 
in  honor.  These  alternate  with  the  sequence 
of  the  Golden  Arts,  described  on 
the  succeeding  page. 


ORIENTAL  ART 

ROTUNDA,  PALACE  OF  FINE  ARTS 


The  great  panels  of  the  Golden  Arts  alter- 
nate, in  the  ceiling  of  the  Rotunda  of  Fine 
Arts,  with  the  Four  Golds  of  California. 
All  of  these  panels  so  tone  their  brilliancy 
into  the  great  sweep  of  the  ceiling  that  the 
beholder  gets  a sense  of  the  beauty  of  the 
whole  rather  than  that  of  any  part.  This 
arching,  floating  unity  of  the  ceiling  is  an 
admirable  example  of  the  self-control  of  the 
muralist.  The  Golden  Arts  are  interpreted 
by  symbolic  groups  including  a larger  num- 
ber of  figures  than  The  Four  Golds.  They 
are  entitled  “Inspirations  of  All  Art,” 
“Ideals  in  Art,”  “The  Birth  of  European 
Art,”  and  “Oriental  Art,”  here  illustrated  as 
typical.  In  this,  against  the  soft  but  spark- 
ling background  of  bright  sky  and  clouds 
that  supports  all  of  the  panels,  are  set  with 
much  verve  the  historical,  legendary  and 
romantic  inspirations  of  Oriental  art.  The 
group  is  dominated  by  a contest  between  an 
eagle  and  a knight  mounted  upon  a dragon — 
based  upon  a legend  of  the  Ming  dynasty. 
Fugi,  the  sacred  mountain,  is  in  the  distance; 
the  sacred  dog  attends  the  Chinese  hero  in 
the  foreground.  A beautiful  Japanese 
woman  — indicating  the  inspiration  of 
romance,  East  and  West  — sits  among 
flowers.  The  space  is  filled  in  a manner 
appropriately  and  charmingly  suggestive 
of  Oriental  composition. 


[194] 


THE  ARTS  OF  PEACE 
NETHERLANDS  PAVILION 


The  Pavilion  of  The  Netherlands  is  inevi- 
tably reminiscent  of  the  Peace  Palace  of  The 
Hague,  by  natural  association  of  ideas  and 
because  of  the  spirit  of  its  central  mural 
painting,  “The  Arts  of  Peace.”  It  is  there- 
fore an  interesting  fact  that  Hermann  Rosse, 
the  artist  who  painted  this  imposing  work, 
and,  indeed,  designed  the  entire  interior 
decoration  of  the  pavilion,  was  also  muralist 
and  decorator  of  the  Palace  of  Peace.  The 
pavilion  walls  and  hangings — steel  blue,  olive 
green  and  silver  grey,  relieved  by  quaint 
conventional  stencils  of  orange  trees  and 
tulips  and  severe  shields  of  the  four  divisions 
of  the  kingdom — has  a broad,  cool  puritan- 
ism  that  lends  itself  well  to  the  rich  depth  of 
the  painting.  Holland  holds  high  the  image 
of  Peace,  surrounded  by  the  peace-nurtured 
arts  and  industries  on  whose  support  all 
human  welfare  rests.  Among  them  stand 
not  only  representatives  of  trades  and  crafts, 
with  their  symbols  and  implements,  but  also 
the  Art  of  Motherhood  and  the  Art  of  Play 
shown  by  a happy  child.  Ships  of  all  ages 
in  side-panels  and  background  tell  of  the 
maritime  history  of  Holland  which  so  largely 
and  peacefully  colonized  the  world.  Beneath 
the  painting  is  a comforting  and 
inspiring  legend. 


[196] 


- ACAinsT  thc  scroll  of  An  irnmoRTAL  iAt»r  - - 
enRlCHCD  By  ART  ATID  COITimeRCe  OF  TH6  LUORLD  - 

- tlHOSe  F6ARLCSS  SAlLSOfl  eveRYSHOReLUeRe  FLIRIED 

me  arts  of  peAce  stand,  afid  shall  stand  at  last 


PENN’S  TREATY  WITH  THE  INDIANS 
PENNSYLVANIA  BUILDING 


The  Pennsylvania  Building  was  designed 
with  the  patriotic  purpose  of  enshrining  the 
Liberty  Bell.  The  Bell  stands  in  a loggia 
between  two  wings,  the  architectural  motif 
following  that  of  Independence  Hall.  On 
the  walls  of  the  loggia  are  two  mural  lunettes 
of  distinction  by  Edward  Trumbull  of  Pitts- 
burg. Their  deep  glowing  color  and  massive 
grouping  mark  Mr.  Trumbull  a worthy 
pupil  of  his  master,  Frank  Brangwyn. 
“Penn’s  Treaty  with  the  Indians,”  here 
given,  shows  William  Penn  and  the  foremost 
of  his  shipmates  on  “The  Welcome”  making 
with  Chief  Tamanend  and  his  braves  the 
Treaty  of  Shackamaxon  in  1683,  the  treaty 
that  never  was  broken.  The  plainness  of 
the  kindly  Friends,  the  barbaric  splendor  of 
the  Indians,  the  deep  green  of  the  over- 
arching Treaty  Elm  and  the  lovely  typical 
Pennsylvania  landscape  have  enduring 
attraction.  The  panel  is  in  contrast  with 
Mr.  Trumbull’s  vigorous  and  burning  mod- 
ern picture,  “The  Steel  Workers,”  on  the 
opposite  wall.  In  the  reception  room  of  this 
building  are  seven  delightful  small  panels 
by  Charles  J.  Taylor,  showing  the  early  life 
of  Pennsylvania  villages.  They  are  painted 
in  the  quaint  style  of  old  colonial  decorations 
and  have  charm,  humor,  naivete  and 
beauty  too  pleasing  to  be 
overlooked. 


[198] 


RETURN  FROM  THE  CRUSADE 
COURT,  ITALIAN  PAVILION 


The  courts  and  palaces  of  Italy,  with  their 
appearance  of  age  and  their  remote,  shel- 
tered calm,  present  an  education  in  artistic 
reserve  and  decorative  uses  of  space  that 
all  who  linger  may  learn.  They  represent 
four  centuries  of  architecture,  of  three 
historic  types.  The  lovely  piazzetta  with 
its  antique  well  is  the  center  of  beauty. 
On  one  of  its  walls  is  what  appears  to  be 
an  ancient  mural,  soft,  flat,  with  that  faded, 
velvety  coloring  associated  with  age.  It 
was  recently  painted  by  Mathilde  Festa- 
Piacentini,  in  the  ancient  manner  to  harmo- 
nize with  the  court.  It  represents  “The 
Return  from  the  Crusade”  of  one  noble 
Pandolfo,  and  bears  date  and  description 
in  Latin.  Quaint  old-time  stiffness  and 
weather-worn  coloring  combine  with  modern 
correctness  and  fluency.  The  young  artist 
is  the  wife  of  the  architect  of  the  pavilion 
and  has  won  a silver  medal  in  the  Italian 
section  of  Fine  Arts.  Below  this  lunette 
stands  a bronze  copy  of  an  antique  David 
with  the  marble  head  of  Goliath.  Other 
interesting  murals  appear  in  Italy’s  pavilion, 
by  Pierretto  Banco  and  Bruno  Ferrari, 
son  of  the  sculptor,  Ettore  Ferrari. 


[200] 


THE  RICHES  OF  CALIFORNIA 
TEA  ROOM,  CALIFORNIA  BUILDING 


The  tea-room  of  the  Auxiliary  to  the 
Woman’s  Board,  in  the  California  Building, 
was  decorated  by  Florence  Lundborg,  a 
Californian  whose  work  has  won  consid- 
eration in  this  country  and  in  France.  In 
her  large  mural,  “The  Riches  of  California,” 
one  of  the  most  extensive  ever  painted  by  a 
woman,  and  in  the  supplementary  medal- 
lions she  has  expressed  the  generous  abun- 
dance of  California’s  fruitage.  Feeling  a 
similarity  between  copious  California  and 
Sicily,  where  she  has  lived  and  painted,  the 
artist  chose  for  her  text  a line  from  Theoc- 
ritus describing  that  country:  All  breathes 

the  scent  of  the  opulent  summer,  the  season 
of  fruits.  This  inscription,  in  old  Spanish 
lettering,  surrounds  the  great  canvas.  Across 
a restful,  soft-toned  landscape,  bright  but 
tempered,  the  peaceful,  happy  harvesters 
bear  homeward  the  plenteous  fruit.  A mood 
of  quiet  gladness  is  over  all.  The  window 
arches,  throughout  the  soft  gray  walls  of  the 
room,  are  marked  by  brilliant  medallions  of 
fruit  and  flowers,  sumptuously  composed 
upon  a gold  background. 


[202] 


HERE  ENDS  THE  SCULPTURE  AND  MURAL 
DECORATIONS  OF  THE  EXPOSITION,  WITH 
AN  INTRODUCTION  BY  A.  STIRLING  CALDER. 
THE  DESCRIPTIVE  TITLES  HAVE  BEEN 
WRITTEN  BY  STELLA  G.  S.  PERRY.  EDITED 
BY  PAUL  ELDER.  PUBLISHED  BY  PAUL 
ELDER  AND  COMPANY  AND  SEEN  THROUGH 
THEIR  TOMOYE  PRESS  UNDER  THE  TYPO- 
GRAPHICAL DIRECTION  OF  H.  A.  FUNKE, 
IN  THE  CITY  OF  SAN  FRANCISCO  DURING 
THE  MONTH  OF  OCTOBER,  NINETEEN 
HUNDRED  AND  FIFTEEN 


